3D 


STATUS 

AND  VALUE.  OF  MUSIC 
IN  EDUCA 

.•:  W 


BY 

ROSE  YONT 


A  THESIS 

Presented  to  the  Faculty  of  th    Graduate  College  in  the  University  of 

Nebraska  in   Pa.tia!  Fulfillment  of  the  Requirements  for  the 

Degree  of  Doctor  of  Philosophy,  Departments  of 

Education  and  Philosophy 


THE  WOODRUFF  PRESS 

LINCOLN,  NEBRASKA 
1916 


EXCHANGE 


STATUS 

AND  VALUE  OF  MUSIC 
IN  EDUCATION 


BY 

ROSE  YONT 


A  THESIS 

Presented  to  the  Faculty  of  the  Graduate  College  in  the  University  of 

Nebraska  in    Partial  Fulfillment  of  the   Requirements  for  the 

Degree  of  Doctor  of   Philosophy,  Departments  of 

Education  and   Philosophy 


THE   WOODRUFF   PRESS 

LINCOLN,  NEBRASKA 
1916 


COPYRIGHTED  1916 

By 
ROSE  YONT 

All  Rights   Reserved 


PRICE 

Paper  $1.50;  Cloth  $2.00 

By  Mail  20c  Extra 
A   ^ress  the  Publishers  at   100C-08  Q  Si: 


TO  DR.  G.  W.  A.  LUCKEY, 

Dean  of  the  Graduate  School  of  Education. 

This  volume  is  dedicated  as  a  token  of  the  author's 
appreciation  of  his  services.  From  him,  she  received 
the  first  encouragement  in  her  chosen  line  of  research 
To  him,  is  due  the  credit  for  much  in  this  volume,  that 
may  prove  helpful  to  the  serious  reader.  If  the  book 
succeeds  in  pointing  out  some  fundamental  principles, 
in  a  field  of  education,  where  as  yet,  the  trail  has 
scarcely  been  blazed,  it  will  have  fulfilled  a  worthy 
mission. 

ROSE  YONT. 

March  15,  1916. 


347154 


!A  generous  education  is  the  birthright 
of  every  man  and  woman  in  America." 


VITA. 

Born  and  reared  on  a  farm  in  Otoe  county,  Nebraska,  of 
German  ancestry,  country  school  grade  education,  taught  the 
same  one  year.  Entered  the  state  university  preparatory  course 
and  University  School  of  Music  in  1894,  with  piano  as  a  specialty, 
continuing  the  latter  throughout  the  college  course;  entered  the 
Lincoln  high  school  in  1895,  transferred  to  the  academy  the 
following  year,  entered  the  University  in  1897,  graduated  from 
the  conservatory  in  1899,  and  continued  post  graduate  work  in 
piano,  taking  up  private  piano  teaching;  graduated  from  the 
University  in  1903,  taught  home  school  again,  1903-04;  took  six 
months  correspondence  course  in  harmony  with  Dr.  Percy 
Goetchius,  New  York  City,  1903;  began  a  correspondence 
course  in  counterpoint  with  A.  J.  Goodrich,  New  York  City, 
1903-04. 

Started  on  master's  degree  at  the  University  of  Nebraska, 
1904,  taking  up  composition  under  Mortimer  Wilson  and  piano 
at  the  conservatory.  Spent  the  year  of  1905-06  in  California 
studying  composition  and  orchestration  by  correspondence  with 
Mr.  Wilson  and  counterpoint  with  A.  J.  Goodrich,  also  by  corre- 
spondence. 

Moved  to  Lincoln,  1906,  continued  work  on  master's  degree 
with  composition  and  orchestration  under  Mr.  Wilson.  Took 
master's  degree  in  1907,  in  the  departments  of  education  and 
American  history;  took  state  teachers'  certificate  in  German, 
French  and  history;  title  of  thesis,  "  Music  in  the  Public  Schools 
of  the  United  States." 

Taught  piano  privately  1907-12,  while  continuing  study  of 
piano,  taking  up  china  painting  in  the  school  of  fine  arts. 

Registered  in  the  university  engineering  course  during  the 
summers  of  1909,  '10,  '11,  '12,  as  special  student  in  furniture  and 
cabinet  work,  and  wood  carving. 

Entered  Lincoln  Musical  College  in  1912  as  private  pupil  of 
Aloys  Kremer,  taking  up  composition  and  orchestration  under 
Max  Kidder  in  1913. 

Superintended  practice  work  and  chorus  training  in  Parochial 
high  school  of  the  city,  1913. 

Began  study  of  doctor's  degree  the  summer  of  1913,  in 
education  and  philosophy. 

Went  to  New  York  City  fall  of  1913,  took  up  full  work  in 
normal  school  music,  Teachers'  College,  and  in  Columbia  chair 
of  music.  Took  piano  with  Sigismond  Stojowski,  and  work  in 
wood  carving  in  Columbia  shops. 

Summer  study  of  1914  in  Columbia  with  philosophy  under 
Dr.  Washburn  and  Dr.  Woodworth,  and  piano  with  Madam 
Conrad. 


VI 


Spent  month  of  July  visiting  the  high  schools  of  New  York 
City,  Mount  Vernon,  and  Brooklyn,  and  in  studying  conditions 
of  settlement  work  in  the  slums. 

Resumed  work  on  doctor's  degree  the  fall  of  1914,  in  the 
University  of  Nebraska.  Took  up  the  problem  of  experimental 
piano  teaching,  with  reference  to  a  test  of  the  learning  powers 
of  adults,  extending  tests  to  include  a  study  of  the  grade  pupil, 
and  a  possible  solution  for  crediting  private  instruction. 


Vll 


STATUS  AND  VALUE  OF  MUSIC  IN  EDUCATION. 

OUTLINE. 


Division  I. 
II. 

III. 

IV. 

V. 

VI. 
VII. 


PART  I. 
Music  IN  THE  PUBLIC  SCHOOLS. 

North  Atlantic  Division. 
South  Atlantic  Division. 
South  Central  Division. 
North  Central  Division. 
Western  Division. 
United  States  Possessions. 
Report  of  State  Superintendents. 


Supplementary. 

Distribution  and  Number  of  Supervisors  in  the  United  States. 
Summary. 

PART  II. 
Division  I. 
Normals. 
Chapter  I 
II 
III 
IV 
V 

Division  II. 
State  Universities  and  Colleges. 

Chapter  I.    North  Atlantic  Division. 
South  Atlantic  Division. 
South  Central  Division. 
North  Central  Division. 
Western  Division. 


North  Atlantic  Division. 
South  Atlantic  Division. 
South  Central  Division. 
North  Central  Division. 
Western  Division. 


II. 
III. 
IV. 

V. 

Summary. 

Theses  for  Degrees. 
Mechanical  Players  in  Colleges. 
Division  III. 
Educational  Extension. 

Chapter  I.    Universities,  Colleges  and  Private  Corporations. 
Festivals  and  Choruses. 
National  Organizations. 
Municipal  and  Settlement  Work. 
Research. 

Psychological  in  Universities. 

Statistics  Regarding  Private  Music  Study. 


II. 
III. 
IV. 
V. 

Sub-Chapter  1. 
2. 


VI.    Corporations. 

1.  Conservatories. 

2.  Book^Concerns. 


VI 11 

PART  III. 

Survey. 

Chapter  I.    Education. 

Sub-Chapter  1.    Child  Life  and  Training. 

2.  Present  Conditions. 

3.  Adult  Tests  in  Pianoforte  Study. 

II.    System  of   Incorporating  Musical   Instruction 
into  the  Schools. 

1.  Grade  School. 

2.  High  School. 

3.  University. 
General  Conclusions. 

PART  IV. 

Bibliography. 

Division  I.  Reports  of  State  Superintendents. 

II.  Normal  School  Catalogs. 

III.  University  and  College  Catalogs  and  Magazines. 

IV.  Correspondence  with  State  Superintendents. 

V.  Correspondence  with  State  Universities  and  Col- 
leges. 

VI.  Correspondence  with  Nebraska  High  Schools. 

VII.  University  Extension  Pamphlets. 

VIII.  Musical  Books. 

IX.  Musical  Magazines. 

X.  Educational  Books. 

XI.  Educational  Magazines. 

XII.  Philosophy  and  Psychology  Books. 

XIII.  Psychology  Magazines. 

XIV.  General  Magazines. 

XV.    Miscellaneous  Paper  Clippings. 


ix 


TABLE  OF  CONTENTS 


PA 

PREFACE 

.GE 

1 

5 

6 
6 
6 
6 
8 
8 
10 
11 
12 

14 

15 
16 
16 
17 
17 
18 
18 
19 

20 
21 
21 
22 
22 
23 
23 
23 

24 
25 
28 
29 
30 
31 
31 
31 
35 
35 
36 
38 

38 
39 
39 
39 
39 
40 
41 
41 

Washington  
Oregon  

PAGE 

.   42 
.   42 
...44 

.   44 
...45 
...45 

...46 

.   63 
...65 

.   73 
...73 
...73 

...74 
.  .  .   74 
...75 
...75 
...75 
...75 

.   76 

...76 
...76 

...77 
...77 
.  .  .   77 
.  .  .   78 
...78 

.   78 
...79 
.  .  .   79 
.  .  .   79 
.  .  .   80 
.  .  .    80 
...81 
.  .  .   82 

.   82 
.  .  .   82 
83 

PART  I. 

MUSIC  IN  THE  PUBLIC  SCHOOLS 

Introduction  
North  Atlantic  Division 
Maine                      

California  
United  States  Possessions 
Alaska  
Porto  Rico  
Philippine  Islands  
Questionnaires  to  state  super- 
intendents   
Distribution  and  Number  of 
Supervisors  
Summary  

PART  II, 

NORMALS 

North  Atlantic  Division 
Maine  

New  Hampshire  
Vermont  
Massachusetts  
Rhode  Island  
Connecticut  
New  York  
New  Jersey  
Pennsylvania  
Statistics  for  New  England, 
New  York  and  New  Jersey.  . 
South  Atlantic  Division 
Delaware  
Maryland  
Virginia  
West  Virginia  
North  Carolina  
South  Carolina  
Georgia 

New  Hampshire  

Vermont  .  

M  assachusetts 

Rhode  Island  
Connecticut  
New  York  
New  Jersey  
Pennsylvania  
South  Atlantic  Division 
Delaware  
Maryland  

Florida 

South  Central  Division 
Kentucky  
Tennessee  
Alabama 

Virginia  
West  Virginia  
North  Carolina  
South  Carolina  
Georgia  
Florida  
North  Central  Division 
Kentucky 

Mississippi 

Louisiana  
Texas  
Arkansas  
Oklahoma  
North  Central  Division 
Ohio  

Indiana    .    ... 

Tennessee 

Illinois.  .  .  . 

Alabama  
Mississippi  
Louisiana  

Michigan  
Wisconsin  
Minnesota  
Iowa  
Missouri 

Texas  

Arkansas  
Oklahoma  
North  Central  Division 
Ohio  

North  Dakota  
South  Dakota  
Nebraska  
Kansas  
Western  Division 
Montana  
Wyoming  
Colorado  
New  Mexico  
Arizona  
Utah  

Indiana  

Illinois 

Michigan 

83 

Wisconsin 

83 

Minnesota  
Iowa  
Missouri  
North  Dakota  
South  Dakota  
Nebraska  
Kansas.  . 

.  .  .   84 
...84 
...84 
...85 
...85 
.  .  .   85 
.    86 

Nevada  

Idaho.  . 

TABLE  OF  CONTENTS— Continued 


Western  Division 

Montana 

Wyoming 

Colorado 

New  Mexico.  . 
Arizona.  . 

Utah 

Nevada 

Idaho 

Washington . . . 

Oregon 

California.  . 


PAGE 

.  86 
.  ..  87 
.  .  87 
.  .  87 
.  .  88 
.  .  88 
.  .  89 
.  .  89 
.  .  90 
.  90 
.  91 


STATE  UNIVERSITIES  AND  COLLEGES 

North  Atlantic  Division 

Maine 

University  of  Maine 95 

Bowdoin  College 95 

New  Hampshire 

Dartmouth  College 95 

Vermont 

University  of  Vermont 95 

Massachusetts 

Harvard  University 96 

Radcliffe  College 99 

Amherst  College 99 

Clark  University 100 

Smith  College 100 

Wellesley  College 102 

Tufts  College 103 

Mt.  Holyoke  College 104 

Boston  University 105 

Williams  College 105 

Phillips  Academy 105 

Rhode  Island 

Brown  University 106 

Rhode  Island  State  College.  106 

Connecticut 

Yale  University 106 

Wesleyan  University 109 

Trinity  College 109 

New  York 

Columbia  University 109 

Teachers'  College 112 

Cornell  University 112 

Vassar  College 114 

Syracuse  University 116 

University  of  Rochester.  ...  118 
College  of  the  City  of  New 

York 118 

New  York  University 118 

Wells  College 118 

William  Smith  College.  ....  119 
Colgate    University,    Saint 
Lawrence    University, 
Hobart    College,    Union 

College 119 


PAGE 
New  Jersey 

Princeton  University 119 

Rutgers  College US- 
Pennsylvania 

University  of  Pennsylvania .    119 

Bucknell  University 120 

Lebanon  Valley  College ....   121 

Perkiomen  Seminary 121 

Grove  City  College 121 

Pennsylvania    College    for 

Women 122 

Pennsylvania  State  College .    122 

Pennsylvania  College 122 

University  of  Pittsburg 122 

Bryn  Mawr,  Alleghany  Col- 
lege, Lafayette  College, 
Lehigh  University,  Wash- 
ington and  Jefferson  Col- 
lege   122 

South  Atlantic  Division 
Delaware 

Delaware  College 122 

Maryland 

Woman's  College  of  Balti- 
more   122 

Johns  Hopkins  University .  .    122 
District  of  Columbia 

Howard  University 123 

George  Washington  Uni- 
versity  ^ 123 

Georgetown  University 123 

Virginia 

University  of  Virginia 123 

College  of  William  and  Mary  123 
West  Virginia 

University  of  West  Virginia .   124 
North  Carolina 

University  of  North  Carolina  125 

Shaw  University 125 

South  Carolina 

University  of  South  Carolina  126 

Converse  College.  .  , 126 

Georgia 

University  of  Georgia 126 

Florida 

University  of  Florida 126 

Florida    State    College    for 

Women 126 

John  B.  Stetson  University.    127 
South  Central  Division 
Kentucky 

University  of  Kentucky ....    127 
.  Tennessee 

University  of  Tennessee.  .  .  .    127 

Maryville  College 127 

Fisk  University 128 

Grant  University 128 


XI 


TABLE  OF  CONTENTS— Continued 


PAGE 

South  Central  Division 

Tennessee — continued 

Vanderbilt  University. . 128 

Cumberland  University ....  128 

Peabody  College  for  Teachers  128 

University  of  the  South ....  128 

Alabama 

University  of  Alabama 128 

Tuskegee  Institute 128 

Mississippi 

University  of  Mississippi .  .  .  128 
Mississippi    Industrial    In- 
stitute and  College 129 

Mississippi  Agricultural  and 

Mechanical  College 129 

Louisiana 

University  of  Louisiana ....  129 
Louisiana  Industrial  In- 
stitute    129 

Tulane  College 129 

Texas 

University  of  Texas 131 

Baylor  University 132 

Texas  Christian  University .  132 

Arkansas 

University  of  Arkansas 132 

Oklahoma 

University  of  Oklahoma.  ...  133 

Kingfisher  College 134 

North  Central  Division 

Ohio 

University  of  Ohio 135 

Oberlin  College 136 

Ohio  University 138 

Ohio  Wesleyan  University.  .  139 

Miami  University 139 

Baldwin  Wallace  College ...  139 

Western  College 140 

Western  Reserve  University  140 

University  of  Wooster 140 

University  of  Cincinnati. ...  140 

Indiana 

University  of  Indiana 140 

Notre  Dame 141 

De  Pauw  University 141 

Purdue  University 142 

Earlham  College 142 

Illinois 

University  of  Illinois 142 

University  of  Chicago 144 

Northwestern  University .  .  .  145 

Lombard  College 150 

Hedding  College 151 

Monmouth  College 151 

James  Millikin  University.  .  151 

Rockford  College 151 

Lake  Forest  College 152 


PAGE 

Carthage  College 152 

Illinois  Wesleyan  University  152 

Knox  College 152 

Augustana  College  and 

Theological  Seminary.  .  .  .  153 

Michigan 

University  of  Michigan 154 

Olivet  College 157 

Hillsdale  College.  .  .157 

Alma  College 158 

Kalamazoo  College 158 

Wisconsin 

University  of  Wisconsin.  ...  158 

Beloit  College 162 

Lawrence  College 162 

Ripon  College 162 

Marquette  College 162 

Minnesota 

University  of  Minnesota. ...  163 

Macalester  College 164 

Gustavus  Adolphus  College.  164 

St.  Olaf  College 165 

Carleton  College 165 

Albert  Lea 166 

Parker  College 166 

Iowa 

State  University  of  Iowa ...  166 

Perm  College 168 

Iowa  State  College  of  Agri- 
culture and  Mechanic  Arts  169 
Central  University  of  Iowa .  169 
Upper,  Iowa  University. .  .  .  169 

Parson's  College 169 

Graceland  College 170 

Coe  College 170 

Amity  College 170 

Des  Moines  College 170 

Buena  Vista  College 171 

Tabor  College 171 

Ellsworth  College 171 

Missouri 

University  of  Missouri 171 

Hardin  College 172 

Tarkio  College 172 

Park  College 173 

Christian  Brothers  College. .  173 
Missouri  Valley  College ....  173 
Missouri  Wesleyan  Uni- 
versity    173 

Walther  College 174 

William  Jewell  College 174 

St.  Louis  University 174 

Central  College 174 

Westminster  College 174 

Drury  College 174 

North  Dakota 

University  of  North  Dakota  174 


Xll 


TABLE  OF  CONTENTS— Continued 


PAGE 

North  Central  Division 

South  Dakota 

University  of  South  Dakota  175 
Dakota  Wesleyan  University  178 

Huron  College 178 

Augustana  College 178 

Columbia  College 178 

Eureka  College 178 

Freeman  College 178 

Lutheran  Normal. 178 

Northern  Normal  and  In- 
dustrial School 178 

Presentation  Academy 179 

Redfield  College 179 

School  of  Mines 179 

Sioux  Falls  College 179 

State  College  of  Agriculture 

and  Mechanic  Arts 179 

St.  Mary's  Academy 179 

Ward  Academy 179 

Wessington  Springs  Academy  179 
Yankton  College 179 

Nebraska 

University  of  Nebraska ....    179 
Nebraska    Wesleyan    Uni- 
versity     181 

Union  College 181 

Cotner  University 181 

Hastings  College 182 

Doane  College 182 

Creighton  College 182 

Grand  Island  College 182 

Luther  Academy 182 

Kansas 

University  of  Kansas 183 

Baker  University 186 

Ottawa  University 187 

Oswego  College 188 

Washburn  College 188 

Kansas  Wesleyan  University  189 

Fairmont  College 189 

Midland  College 189 

St.  Benedict's  College 190 

Mt.  St.  Scholasticas  Academy  190 
Western  Division 

Montana 

University  of  Montana 190 

College  of  Montana 191 

Wyoming 

University  of  Wyoming    ...    191 

Colorado 

University  of  Colorado 192 

Colorado  College 193 

University  of  Denver 193 

New  Mexico 

University  of  New  Mexico.  .   193 


PAGE 

Arizona 

University  of  Arizona.  .        .194 

Utah 

University  of  Utah 195 

Brigham  University 196 

Brigham  Young  College.  .  .  .    196 

Nevada 

University  of  Nevada 196 

Idaho 

University  of  Idaho 197 

Academy  of  Idaho 198 

Washington 

University  of  Washington  .  .    198 

Witman  College 200 

College  of  Puget  Sound ....   200 

Oregon 

University  of  Oregon 201 

Pacific  University 202 

Mcminnville  College 202 

Albany  College 202 

California 

University  of  California ....   203 
Leland  Stanford  Jr.  Uni- 
versity    204 

Pomona  College 204 

Mills  College 205 

University  of  Southern 

California 205 

University  of  the  Pacific. ...   205 

Santa  Clara  College 205 

St.  Vincent's  College 205 

Tabulated    Statistics    from 

Departments  of  music .  .  .    206 
Summary 

Theses  for  Degrees 208 

Mechanical  Players  in  Colleges  212 
Educational  Extension 

Universities,  Colleges  and 

Private  Corporations 215 

Festivals  and  Choruses 219 

National  Organizations 221 

Municipal  and  Settlement 

Work 224 

Research 

Psychological  in  Universities  229 
Statistics  Regarding  Private 
Music  Study 

Status  in  United  States ....   238 
Questionnaire  of  Washing- 
ton State 242 

Questionnaire  in  Lincoln 

Public  Schools 245 

Comparison  of  Private 

Study 251 

Nebraska  State  Question- 
naire    253 

Summary  of  Conditions ....   263 


Xlll 


TABLE  OF  CONTENTS— Continued 


Estimated  State  Cost  of 

Private  Study 

Corporations 

Conservatories 

Book  Agencies 


PART  III. 


Survey 


PAGE 

.  262 
.  266 
.  266 
.  268 


Education 271 

Child  Life  and  Training 272 

Present  Conditions 281 

Adult  Tests  in  Pianoforte 

Study 285 

System  of  Incorporating  Mus- 
ical   Instruction    into    the 

Schools 299 

Grade  School 300 

High  School 306 

University 308 

General  Conclusions.  .  .  313 


PART  IV. 


PAGE 


Bibliography 

Reports  of  State  Super- 
intendents   317 

Normal  School  Catalogs 321 

University  and  College  Catalogs 

and  Magazines 323 

Correspondence  with  State 

Superintendents 334 

Correspondence  with  State 

Universities  and  Colleges ...  335 
Correspondence  with  Nebraska 

High  Schools 336 

University  Extension  Pam- 
phlets   337 

Musical  Books 337 

Musical  Magazines 337 

Educational  Books 341 

Educational  Magazines 342 

Philosophy  and  Psychology 

Books 344 

Psychology  Magazines 344 

General  Magazines 345 

Miscellaneous  Paper  Clippings  346 

Summary  of  Readings 346 


PREFACE. 

I  have  been  led  to  select  this  field  of  investigation  in  writing 
my  thesis,  from  a  slowly  developing  conviction  that  much  of  the 
present  teaching  of  art  in  our  schools  (but  most  particularly  that 
of  music),  is  attended  by  great  waste,  if  not  real  injury  to  the 
children  on  account  of  false  pedagogical  principles,  lack  of  under- 
standing of  child  development,  and  a  commercializing  of  the 
occupation  by  the  typical  rank-and-file  music  teacher  of  the  day. 
In  the  development  of  this  thesis,  the  author  hopes  to  bring  out 
very  definitely,  her  conclusions  that  much  of  the  overwork, 
nervous  breakdowns,  and  lowered  vitality  of  children,  is  caused 
by  an  attempt  to  obtain  these  forms  of  culture  on  the  side,  and 
outside  school  hours.  To  what  extent  this  is  carried  on,  the 
general  public  little  realizes,  nor 'do  the  parents  themselves,  for 
that  matter.  The  result  is,  that  only  the  more  vigorous  children 
survive  the  strain,  without  serious  damage  to  their  constitutions. 
Or,  worse  still,  they  leave  school  for  the  sake  of  their  art,  since 
the  school  fails  to  solve  their  difficulties.  Such  a  system  has 
tended  to  turn  out  a  large  class  of  uneducated  musicians,  whom 
the  educators  now  find  it  impossible  to  utilize,  in  the  process  of 
welding  our  art  life  and  our  school  life  into  one.  The  division, 
which  should  not  have  taken  place,  has  caused  an  isolation  and  a 
remoteness  from  real  school  problems,  which  cannot  be  reconciled, 
since  the  material  is  not  forthcoming  to  supply  the  teaching  force. 

This  treatise  does  not  agree  with  some  writers,  educators, 
who  say  that  the  average  music  student  is  below  par  mentally. 
By  careful  tabulation,  both  in  musical  advancement  and  school 
studies,  the  author  has  found  that  her  best  pupils  stand  highest 
in  class.  Those  with  less  mental  vitality  are  the  children  who 
have  dropped  the  school  work,  and  hence  lack  a  many  sided 
brain  activity.  Art  life  does  not  take  the  place  of  college  stud  y, 
nor  is  it  possible  for  the  college  to  supply  the  discipline  and 
development  peculiar  to  the  arts  alone. 

The  usual  conservatory  product  is  not  the  result  of  the 
musical  education  itself,  but  rather,  the  lack  of  a  well  defined 
and  perfectly  rounded  out  system  of  education,  in  which  no  one 
faculty  is  developed  at  the  expense  of  another. 

Since  the  average  mature  music  student  does  not  show  the 
alertness  of  the  music  pupil  in  the  grades,  there  is  only  one  con- 
clusion. School  days  have  terminated  too  young,  before  the  real 
formative  period  in  the  educational  development  began.  That 
the  artistic  element  should  predominate  at  the  expense  of  real 
intellectual  fibre  is  to  be  expected,  when  the  two  processes  do 
not  develop  together.  There  can  be  little  doubt,  but  that  a 
purely  artistic  education  produces  a  highly  developed  emotional 
organism  which  is  not  desirable.  On  the  other  hand,  a  purely 
scholastic  education  produces  an  unemotional  organism  which  is 
equally  undesirable.  Thus  we  have  today  these  two  classes  in 


large  numbers,  and  it  rests  with  the  schools  to  so  formulate  their 
curriculum,  that  the  two  types  may  be  fused  into  one,  in  such  a 
manner,  that  the  fusion  may  result  in  a  well-balanced  education 
for  the  great  masses. 

The  writer  having  been  a  victim  of  the  dual  course,  the 
problems  and  hardships  of  such  a  process  have  been  brought 
home  with  unusual  force  and  clearness.  It  is  with  the  hope 
of  bettering  the  situation  of  those  who  may  follow,  that  she  has 
taken  up  the  difficult  aspects  of  the  problem.  Her  own  teaching 
has  convinced  her  that  the  situation  has  become  more  tense 
during  the  past  two  years,  and  until  some  plan  is  developed, 
whereby  all  the  activities  of  a  child  may  be  included  and  super- 
vised in  the  school  curriculum,  there  is  little  prospect  that  the 
condition  will  tend  to  better  itself.  At  present,  there  is  no 
system  of  checking  up  the  amount  of  work,  which  is  really 
done  by  a  school  child  in  the  course  of  a  week.  The  general 
tendency  is,  that  most  children  lack  the  keenness  and  alertness, 
which  are  characteristic  of  a  child  who  is  not  overburdened  with 
study,  and  which  are  so  necessary  to  a  learning  process,  that  will 
be  vital  in  the  child's  life. 

With  these  thoughts  in  mind,  the  writer  will  attempt  to  show 
four  aspects:  first,  to  what  extent  music  is  recognized  not  only 
in  the  public  schools,  but  in  the  normals  and  universities; 
second,  by  investigation,  to  determine  the  real  status  of  private 
instruction  in  this  state;  third,  by  experimental  tests  on  the 
learning  powers  of  adults,  to  discover,  if  possible,  whether  the 
art  development  cannot  be  prolonged  sufficiently,  to  give  room 
also  for  educational  development,  without  a  sacrifice  of  either; 
fourth,  an  attempt  to  set  forth  the  problem  and  indicate,  if 
nothing  more,  what  seems  to  be  a  solution  worth  consideration. 

In  preparation  of  the  thesis,  I  have  made  exhaustive  use  of 
the  state  university  library,  the  state  house  library,  the  state 
superintendent's  private  books,  the  legislative  reference  bureau, 
my  own  private  library,  with  free  use  of  Columbia  library  in 
New  York  City,  and  supplemented  by  four  sets  of  question- 
naires sent  out  to  state  superintendents,  state  universities,  high 
schools  of  Nebraska,  and  to  leading  musicians  and  educators. 

The  writer  here  wishes  to  express  her  obligation  to  the  above- 
named  persons,  for  their  prompt  and  courteous  responses  which 
they  have  made  to  her  letters,  and  for  the  important  information 
they  have  contributed  so  cheerfully.  Whatever  success  awaits 
this  thesis,  the  author  feels  will  be  due  to  the  great  consideration 
which  others  have  shown,  and  only  the  large  number  to  whom 
she  is  indebted,  prevents  mention  of  their  names  other  than  in  the 
bibliography. 

More  especially  is  acknowledgement  due  to  Dr.  Luckey, 
whose  generosity  and  interest  have  always  been  present,  and 
whose  wisdom  and  judgment  are  deeply  appreciated  by  the  writer. 

April,  1915.  ROSE  YONT. 


PART  I. 

Music  in  the  Public  Schools. 


PART  I. 
MUSIC  IN  THE  PUBLIC  SCHOOLS. 

In  treating  of  music  in  the  public  schools,  this  thesis  begins 
with  the  conditions  as  they  were  in  1907,  date  of  master's  thesis, 
and  deals  largely  with  the  phases  as  they  really  exist  at  the 
present  time.  For  the  most  part,  the  material  for  such  a  study 
has  been  very  satisfactory,  and .  it  has  been  possible  to  make 
reports  and  tabulate  statistics,  which  are  uniformly  full  for  all 
sections  of  the  country.  The  intense  interest  in  music  on  the 
part  of  musicians,  college  men  and  educators,  as  shown  by  the 
many  able  articles  now  in  print  upon  the  subject,  has  made  a 
valuable  report  possible,  while  the  careful  and  complete  answers 
received  from  the  number  of  questionnaires  sent  out,  have  been 
very  gratifying.  I  have  made  extensive  use  of  the  state  super- 
intendents' reports  in  this  part  of  my  thesis,  since,  being  a  care- 
ful compilation  of  state  school  affairs,  they  furnish  even  better 
source  material  than  letters  from  the  same  parties.  With  this 
thought  in  mind,  I  have  leafed  through  all  the  reports  which 
may  be  found  in  the  bibliography,  and  noted  every  mention  of 
music.  In  my  judgment,  this  serves  as  the  most  conservative 
and  accurate  background  for  a  subject,  which  as  yet  is  in  its 
pioneer  stage  of  development. 

While  the  reader  may  feel  at  times  that  due  credit  has  not 
been  given,  I  have  attempted  to  give  as  full  account  as  the 
sources  justify.  The  lack  of  systematic  work  in  the  public 
schools,  and  the  unsatisfactory  reports  sent  in  to  superintendents, 
have  made  the  compiling  of  this  part  of  the  thesis  especially  hard. 
An  effort  has  been  made  to  show  rural  and  smaller  town  conditions 
as  accurately  as  possible,  since  no  collected  material  exists  upon 
this  phase.  . 

Conditions  in  larger  cities  are  fairly  well-known  already, 
since  musical  education  of  a  more  or  less  satisfactory  nature 
exists  in  most  towns  of  any  considerable  population. 

With  this  thought  in  mind,  I  have  carried  my  investigations 
into  the  fields  least  accessible,  and  of  which  there  is  little  knowl- 
edge of  real  conditions. 


NORTH  ATLANTIC  DIVISION. 

Maine  shows  little  agitation  along  this  line.  School  reports 
sent  in  to  the  state  superintendent's  office  make  no 
MAINE  mention  of  music.  The  report  of  the  Eastern  State 
Normal  School,  and  of  the  State  Summer  School  for 
teachers,  each  make  a  brief  mention,  with  no  outline  of  the 
courses.  The  school  law  of  1913,  Sec.  59,  p.  25,  bears  out  this 
conclusion,  since  it  says  "music  shall  not  be  taught  therein  (free 
high  schools)  except  by  direction  of  the  superintending  school 
committees  having  supervision  thereof".  This  would  indicate  a 
matter  of  choice  on  the  part  of  the  different  localities,  in  regard 
to  its  presence  upon  the  curriculum.  The  table  of  statistics  on 
page  14  will  serve  to  make  the  conditions  clearer,  as  well  as  to 
present  comparisons  between  the  several  states  of  this  division. 
(2.  1912:19,21.) 

The  report  of  New  Hampshire  is  still  more  scant  in  regard 

to  any  information.     No  mention  is  made. 

NEW  HAMPSHIRE     (3.     1911-12.)     The  reader  is  referred  again 

to  the  report  on  page  14,  which  shows  that  out 

of  forty  high  schools  addressed,  only  sixteen  responded,  and  of 

those  sixteen,  only  eleven  taught  music.     Since  these  as  city 

school  centers  are  the  most  favorable  schools  for  such  study,  the 

rural  population  must  not  be  as  well  cared  for  in  this  respect. 

(Thesis  page  14.) 

Music  has  been  recognized  in  Vermont  for  fifty  years  in  all 

the  larger  villages.     About  60%  of  all  the  schools 

VERMONT    teach  it  as  a  study.      (376.)     The  report  of   1912 

makes    seventeen    mentions    of    music    supervisors. 

(4.     1912:81 — all  ref.)     An  interesting  feature  of  the  work  in 

this  state,  is  the  report  of  the  Central  Caledonia    supervision 

union.     A  supervisor    travels  from  school  to  school,  reaching 

each  one  once  every  week,  conducting  model  recitations  and 

instructing  the   teachers.     There   are  short   daily  exercises   in 

music.     (4.     1912:81— all  ref.) 

Ottauquechee  Valley  union  also  has  a  supervisor  who  has 
charge  of  the  subject  in  the  high  school  and  the  grades,  and  who 
is  required  to  give  one  lesson  every  two  weeks  in  each  rural  school, 
and  map  out  the  work  for  the  regular  teacher  to  present  in  the 
meantime.  (4.  1912:129.) 

The  reports  by  counties  give  seven  supervisors  for  1911  and 
nine  for  1912,  (4.  1912:296— all  ref.)  with  eight  for  1914,  a  loss 
of  one  in  two  years.  (495.) 

The  state  of  Massachusetts  shows  a  higher  stage  of  develop- 
ment, and  a  strong  desire  to  infuse  the  study 
MASSACHUSETTS     into  the  school  system.    In  1914,  Massachusetts 
had  one  hundred  and  fourteen  supervisors,  four 
times  the  number  in  either  Maine  or  New  Hampshire.     (495.) 


Quoting  from  the  report  of  the  board  of  education,  "super- 
visors of  music  are  in  general  demand  in  public  schools,  but  so 
far  the  supply  has  come  from  private  agencies,  which,  however 
strong  their  courses  in  the  technical  knowledge  and  practice  of 
music,  seldom  give  the  pedagogical  training  requisite  for  the 
supervisors  of  music.  It  is  possible  for  one  of  the  normals  to 
undertake  this  form  of  special  training.  Tentative  efforts  in  this 
direction  are  being  made  at  the  Lowell  Normal  School."  (5. 
1912-13:43.) 

Principal  Durgin  urged  the  development  of  a  department  for 
such  training,  asserting  "that  at  the  present  time  there  is  no 
definite  standard  for  such  work,  and,  consequently  the  teaching 
of  music  throughout  the  state,  is  not  as  effective  as  it  should  be." 
Massachusetts  has  a  large  demand  for  teachers  and  supervisors 
of  music.  The  state  has  made  music  a  feature  of  the  normal 
schools,  of  which  there  are  ten,  and  has  authorized  the  employ- 
ment of  a  teacher  of  music  in  each  school.  (5.  1911-12:39. 
7.  1914:4.  377.) 

The  report  of  the  Boston  school  committee  of  1913,  em- 
phasized the  great  difference  in  the  teaching  in  different  districts 
of  the  city.  The  degree  of  interest  varied,  as  well  as  subject 
matter.  Some  afforded  regular  supervisors,  others  did  not,  and 
the  regular  teacher  did  the  work.  Where  a  special  teacher  was 
hired,  he  visited  the  upper  grades  every  five  weeks,  lower  grades 
every  four  weeks  and  the  kindergarten  every  two  months.  (6. 
1913:44.)  A  few  elementary  schools  had  given  much  attention 
to  orchestral  music,  and  had  developed  an  orchestra  of  ten  to 
forty  members.  The  training  was  done  outside  of  school  hours, 
but  the  results  were  worth  while.  Special  teachers  were  so  few, 
that  the  grade  teachers  had  to  do  most  of  the  teaching.  Weekly 
instruction  in  choral  singing  was  given  in  ten  of  the  fifteen  high 
schools.  Not  a  single  teacher  was  assigned  exclusively  to  high 
school  music,  although  there  were  fifteen  thousand  pupils  in  the 
high  schools. 

"The  attention  to  music  in  the  secondary  schools  is  not 
adequate  for  a  musical  center  like  Boston.  There  should  be 
courses  in  musical  appreciation,  theory,  practice  and  more  ex- 
tended choral  work,  as  well  as  harmony,  dictation  and  musical 
art.  There  should  be  instrumental  practice  outside  in  institu- 
tions, and  with  private  teachers  with  periodic  tests  for  the  same. 
There  is  no  valid  reason  why  music  should  not  have  the  same 
credit  as  any  laboratory  subject.  We  must  give  this  recognition, 
if  we  are  to  save  the  high  school  course  for  the  musician."  (6. 
1913:44.) 

Such  was  the  report  of  the  school  committee  of  Boston  last 
year,  and  reveals  the  fact  that  general  growth  has  not  kept  pace 
with  the  verdict  of  school  management.  The  need,  as  is  indicated 
here,  is  not  felt  sufficiently  yet  to  be  supplied. 


In  Rhode  Island,  the  subject  is  equally  serious,  and  under- 
taken from  a  pedagogical  standpoint.  The  school 
RHODE  ISLAND  reports  make  mention  of  it  in  various  parts  of 
the  state,  the  subject  being  introduced  frequently 
during  the  last  reports.  There  is  a  strong  desire  to  teach  it  as  a 
language,  and  to  introduce  theoretical  work,  even  original  com- 
position. (8.  1909:71,81,116.  1910:195.  1911:295,303,348,352. 
1912:126,130.)  The  work  in  this  field  is  centered  in  the  normals. 
The  private  schools  and  institutions,  other  than  parochial  schools, 
made  the  following  reports: 

Conditions  in  private  schools  were: 

1911:  Music  in  twelve,  none  in  five,  no  report  from  eight. 
1912:  Music  in  ten,  none  in  nine,  no  report  from  eight. 

Conditions  in  parochial  schools  were: 

1911:  Music  in  twenty,  none  in  three,  no  report  from  eight. 
1912:  Music  in  twenty-five,  none  in  four,  no  report  from  three. 

The  two  reports  show  a  gain  for  the  parochial  and  a  loss  for 
the  private  schools.  (8.  1911:348,352.  1912:126,130.) 

Providence,  which  had  six  supervisors  in  1875,  with  a  pop- 
ulation of  one  hundred  and  twenty-five  thousand,  now  has  only 
three  with  two  hundred  and  twenty-five  thousand  people.  The 
director,  E.  P.  Russell,  says  that,  but  for  the  normal  school 
training,  music  of  Providence  would  have  suffered.  Hence  the 
great  efficiency  of  the  grade  teachers  along  this  line.  (8.  1910: 
195.) 

Connecticut  requires  music  to  be  taught  in  the  normals,  and 

for  a  term  of  forty  weeks.     The  teaching  staff 

CONNECTICUT    being  drawn  from  these  schools,  they  have  ample 

preparation,  even  where  a  supervisor  is  not  always 

available.     (379.)     Aside   from   the   knowledge   gained   at   the 

normals,  the  state  has  thirty  supervisors  employed  this  year, 

while  the  salaries,  as  shown  in  the  next  paragraph,  are  sufficiently 

large  to  draw  good  teachers.    A  point  worth  noting,  is  that  half 

of  the  supervisors  are  men  in  both  this  state  and  Massachusetts. 

(495.) 

The  following  table,  made  out  from  the  report  of  the  board 
of  education,  will  show  the  cost  and  time  devoted  to  the  study. 
It  includes  reports  from  years  of  1909  to  1910  and  1911  to  1912, 
with  a  comparison. 

The  first  report  (b)  includes  seventy-three  towns;  that  of 
the  second  (c)  has  seventy  where  special  teachers  were  hired, 
with  the  length  of  time  devoted  to  the  subject  during  a  week. 

a.  Number  of  hours  per  week 3       2\  to  3  2\      2.05     2       If 

b.  Number  of  towns,  1909-10 2  1  5156 

c.  Number  of  towns,  1911-12 0  6  00  50 

a 1.45       1.40       If       U       1-25       1.25  1.15  to  1.40       1.10 

b 1  4  1       16         0  9  1  1 

c..  ..0          11  0       15         2          15  0  4 


a 1.05         1  5/6  to  If         1  to  1J         .50         .45  .40         .30 

b..                     ..1           20              1                1            1           3  2           0 

c 0             0              15             0           0            5  0           2 

a                     .25         .20         .15         .12        2  periods        1  period  part  time 

b.              .00110                      1  0 

c 1            1            0           0             2                      1  2 

A  study  of  the  figures  shows  that  the  average  length  of  time 
was  1.15  to  1.40  hours  for  a  week's  study,  the  number  being  very 
small  where  less  than  an  hour  is  given.  The  salaries  were  as 
follows: 

Over  $3000        $2000-$3000        $1000-$2000 

1909-10  towns 0  2  7 

1911-12  towns 1        '  4  18 

$900-$1000  $800-$900  $700-$800  $600-$700  $500-$600 

2  2  4.  4  5 

7  6  4  8  12 

$400-$500  $300-$400  $200-$300  $100-$200      Below  $100 

9  12  12  14  3 

6  16  17  16  8 

The  year  1909  to  1910  shows  a  larger  number  of  towns  paying 
from  $200  to  $400,  while  in  1911  to  1912,  one  salary  was  $3,100, 
eighteen  were  between  $1000  and  $2000,  more  than  doubled. 
This  same  increase  of  salary  is  shown  in  all  the  towns,  indicating 
that  as  newer  towns  take  up  the  subject,  better  teachers  ace 
secured  at  an  advanced  price.  This  is  always  the  case  in  the 
larger  cities. 

The  appended  table  shows  the  total  salaries  of  special  subjects 
taught  in  the  state  for  the  same  years  just  quoted: 

1909-10  1911-12 

Singing $41,842.30  $46,352.12 

Drawing 36,052.31  44,396.49 

Domestic  Science 7,649.66  14,983.19 

Manual  Training 16,270.46  21,577.70 

Sewing 12,018.36  15,405.55 

The  table  shows  that  by  far  the  largest  amount  was  paid  sing- 
ing teachers,  as  compared  with  those  of  other  special  subjects,  and 
that  there  was  an  increase  of  practically  $5,000  paid  out  in  the 
later  report,  the  averages  being  $573.83  for  1909  to  1910,  and 
$594.25  plus  for  1911  to  1912. 

The  following  list  of  questions  was  asked  of  candidates  for 
state  teachers'  examinations  1912  and  1913.  (9.  1910-11:255. 
1912-13:215.) 

I. 

1.  Write  all  notes  from  a  sixteenth  to  the  longest. 

2.  Write  the  following  exercise  in  the  key  of  E,  4/4  time,  four  even 
measures,  one  beat  to  each  note  except  the  last:    35  #4  567853  #2 
36421. 

3.  Transpose  the  above  exercise  to  the  key  of  G  flat,  4/2  time. 

4.  Write  scale  of  b  minor,  harmonic  form. 

5.  a.    Give  methods  of  teaching  sharp  4. 


10 

b.    Divided  beat  known  as  beat  and  one-half  note,  or  dotted  quarter 
and  eighth. 

6.  Write  ten  exercises  in  4/4  rhythm,  using  different  combinations  of 
notes  and  rests. 

7.  Give  an  outline  of  a  lesson  plan  for  third  grade. 

8.  Meaning  of  the  following:    andante,  adagio,  vivace,  molto,  crescendo, 
de  capo  (D.  C.) 

A  new  feature  that  has  not  occurred  in  any  of  the  preceding 
states,  was  that,  in  a  single  instance,  the  supervisor's  salary  was 
paid  by  private  subscription,  but  the  amount  was  not  specified. 

In  the  earlier  report,  four  towns  had  the  subject,  but  without 
a  supervisor.  The  later  report  had  supplied  this  deficiency,  so 
that  these  towns  were  supervised,  there  being  no  vacancies. 
(9.  1910-11:255.  1912-13:213,516.) 

New  York  recognizes  music  as  a  branch  of  study,  and  has  done 

so  for  many  years.    It  is  generally  taught  in  both  the 

NEW  YORK    grades  and  the  high  school,  but  is  not  given  the 

regular  attention  that  other  subjects  receive.     No 

general  system  is  in  use,  each  city  using  what  seems  best.     (380.) 

In  1910,  the  Board  of  Regents  adopted  the  following  general 
plan  for  secondary  schools: 

1.  Chorus  singing  and  the  rudiments  of  music.    For  regents' 
examination,  this  .subject  requires  one  period  per  week,  of  not  less 
than  forty  minutes  chorus  singing  outside  of  theoretical  work. 
Each  school  is  recommended  to  devote  two  periods  to  the  sub- 
ject, and  to  make  it  required,  not  elective. 

2.  Dictation  and  melody  writing,  a  three  hour  course,  with  a 
minimum  of  three  periods  per  week  during  the  year.     Chorus 
singing  and  the  rudiments  to  be  finished  before  this  is  taken  up. 
The  aim  of  the  dictation  is  that  all  shall  gain  power  to  think 
clearly  in  tone,  and  to  read  and  write  music  with  facility.    The 
methods  to  be  used  are  similar  to  those  used  in  learning  the 
mother  tongue. 

3.  Music  appreciation. 

The  theory  work  includes  scales,  signatures,  minor  in  the 
three  forms,  names  of  intervals,  etc.  This  course,  with  reading 
and  writing  melodies,  is  supposed  to  produce  solid  musicianship. 
(10.  1910:391.) 

New  York  is  more  favored  than  most  of  the  states,  in  that  it 
has  the  stimulus  of  very  large  musical  centers,  especially  New 
York  City.  The  strong  departments  in  several  of  the  colleges, 
together  with  the  educational  leaders,  have  set  up  a  high  standard, 
which  the  state  at  large  is  not  yet  able  to  keep  pace  with.  Some 
of  the  results  in  New  York  City  can  well  be  taken  as  models  for 
less  favored  cities.  The  dominant  note,  however,  and  one  which 
the  reports  bring  out  over  the  country  in  general,  is  the  lack  of 
uniformity.  This  city  displays  almost  as  many  types  and  ideals 
of  imparting  musical  instruction,  as  it  has  high  schools.  In  the 
main,  the  results  are  highly  gratifying,  but  much  more  could  be 


11 

accomplished,  if  the  same  systematic  uniformity  and  set  standards 
prevailed,  as  do  in  other  school  branches.  However,  this  is  a 
problem  which  will  be  handled  in  due  time  and  adequately,  when 
the  subject  is  taken  generally  under  state  patronage  by  state 
institutions.  (Observation.) 

At  a  meeting  of  the  New  York  state  examination  board, 
Superintendent  Boynton  presented  a  communication  from  Prof. 
Hollis  E.  Dann,  member  of  music  council,  which  was  passed  by 
the  musical  section  of  the  State  Teachers'  Association  in  1911. 
It  was  as  follows: 

'Resolved,  that  high  school  pupils  preparing  to  enter  the 
normal  and  training  classes,  shall  be  required  to  pass  the  regents' 
examination  in  rudiments  of  music  and  chorus  singing,  melody 
writing  and  dictation." 

"Resolved,  that  graduates  of  training  schools  and  training 
classes,  shall  be  required  to  pass  an  examination  in  music." 

"Resolved,  that  state  inspection  of  the  music  of  the  public  and 
professional  schools  would  be  most  desirable."  (10.  1913:143.) 

These  resolutions  were  referred  to  a  committee  for  a  report 
at  the  next  meeting. 

As  in  many  of  the  preceding  states,  the  normals  are  trying 
to  take  care  of  musical  instruction,  the  one  at  Potsdam  giving  a 
special  course  in  music  covering  two  years,  for  the  training  of 
teachers.  (380.) 

Several  universities,  and  particularly  some  of  the  conser- 
vatories of  New  York  City,  which  are  incorporated  by  the  state, 
and  authorized  to  give  diplomas  and  grant  degrees,  all  offer  strong 
courses  for  the  training  of  teachers  for  school  music,  in  all  its 
phases.  (Observation.) 

New  Jersey  shows  the  enlargement  of  the  idea  of  having  one 

supervisor  teach   music  in  all  the  schools  of  a 

NEW  JERSEY     township.    This  was  done  at  the  suggestion  of  the 

superintendent.    Musical  contests  are  spoken  of  in 

the  1910  report  of  the  superintendent  of  Plainfield,  stating  that 

"interest  was  increased."    The  same  volume  speaks  of  the  list  of 

text  books  recently  adopted  as  "furnishing  some  material  for  art 

work".     As  early  as  1900,  Paterson  was  outlining  a  course  of 

music  for  the  schools.     (11.    1900:211,288,295.     12.    1909-10: 

180.) 

In  Union  county,  a  music  supervisors'  association  was 
organized  in  1909.  It  was  the  clearing  house  for  all  that  was 
new  and  untried,  and  held  meetings  every  alternate  month,  to 
observe  the  work  done  in  the  districts.  After  each  inspection,  a 
meeting  was  held  to  exchange  opinions  of  the  work.  This  inspired 
interest  on  the  part  of  patrons.  (11.  1911:164.) 

A  three  course  plan  was  devised  by  the  school  administrators 
last  year,  at  the  beginning  of  the  seventh  grade,  to  suit  the  vary- 
ing needs  of  the  pupils.  All  three  courses,  even  to  the  business 


12 

course,  give  one  hour  of  the  fifteen  hundred  minutes  to  music. 
The  Hackensack  schools  were  organized  on  this  basis.  (11.  1912: 
79,82.) 

The  mentions  of  musical  instruction  in  this  state  are  much 
more  frequent  in  the  reports  for  1913,  as  compared  with  previous 
years,  than  is  the  case  with  the  states  just  dealt  with.  This 
indicates  that  the  growth  may  be  later,  and  not  a  slow  develop- 
ment as  in  Massachusetts  or  New  York.  (11.  1900:211,288,295. 
1913:79,82,139,160,186,424.  12.  1909-10:180.)  Somerset  County 
sent  in  this  report: 

"Special  mention  should  be  made  of  the  excellent  results  in 
music  at  Bound  Brook,  North  Plainfield  Borough  and  at  Somer- 
ville,  which  has  a  fine  victrola.  These  schools  took  part  in  the 
music  festival  at  Westfield."  (11.  1913:424.) 

A  table  found  in  1913  report  is  of  interest,  since  it  bears  on 
the  results  of  "examinations  for  teachers'  certificates".  The 
questions  asked,  as  well  as  the  exact  nature  of  the  certificate, 
would  have  been  very  instructive,  but  could  not  be  found.  It  is 
appended : 

1912  1913 

Vocal  Music            Passed      Failed  Passed     Failed 

Elementary 13            36  54            16 

Special 15              6  92 

The  proportion  of  failures  in  1912  as  compared  to  1913,  shows 
that  the  candidates  were  either  better  prepared  the  second  year, 
or  that  the  requirements  were  lowered.  (11.  1913:160.) 

The  following  table,  compiled  by  the  commissioner  of  educa- 
tion, shows  comparison  of  the  number «of  pupils  in  music  courses, 
with  some  of  the  numbers  in  other  high  school  branches. 

1912  1913 

State  enrollment  of  high  schools 459,189         478,935 

Number  in  music  courses 6,073  6,615 

Number  in  American  history 3,214  3,011 

Number  in  English 28,540  31,878 

Number  in  German 13,346  13,984 

Number  in  drawing 8,092  10,331 

Drawing  and  music  show  an  increase  of  19.6%,  commercial  subjects  in- 
creased 53.9%,  language  decrease  2.9%,  industrial  arts  increase  55.5%,  history 
increase  9.4%,  science  increase  26.4%,  mathematics  increase  16.4%. 

(11.     1913:186.) 

In  studying  this  table,  it  must  be  remembered  that  some  of 

the  branches  are  compulsory,  while  others  are  not,  so  the  figures 

are  not  a  true  guide  as  to  the  inclination  or  tastes  of  the  students. 

In  the  reports  of  Pennsylvania,    1911  shows  unusual  activity 

as  compared  to  the  years  just  preceding.     (18. 

PENNSYLVANIA     1911:19— all  ref.)     1909  has  five  mentions  of 

music,    1911   has   twenty-one,    including   forty 

distinct  schools,  and  several  mentions  where  it  is  impossible  to 

estimate  the  real  number.    (13.    1909:224— all  ref.) 


13 

In  one  year  in  Clinton  county,  four  high  schools  bought 
pianos  and  ten  purchased  organs.  Several  other  schools  did  like- 
wise. The  reports  of  this  state  would  indicate  that  there  is  con- 
siderable teaching  without  a  music  supervisor.  (13.  1911:56.) 

The  Pennsylvania  report  of  1909,  makes  several  mentions  of 
music  as  a  new  subject,  in  the  various  reports  of  the  schools. 
The  Radnor  township  superintendent  reported  a  special  teacher 
just  added,  to  supervise  all  the  elementary  schools.  The  high 
standard  of  singing  gained  is  mentioned  in  several  schools;  in 
some,  the  success  is  emphasized.  (13.  1909:224— all  ref.) 

The  following  report  is  from  the  same  state  two  years  later. 
Musical  training  is  mentioned  thirty-six  times,  several  of  which 
are  county  mentions,  including  many  districts  where  it  had  been 
placed  on  the  curriculum.  The'  characteristic  attitude  may  be 
gained  from  quotations.  "An  orchestra  was  organized  in  Kitting- 
ton,  and  has  held  many  in  school."  Eaton  music  "is  under 
guidance  of  a  special  teacher,  and  merits  the  highest  commenda- 
tion". Danville  reports  "work  in  music  has  more  than  held  its 
own".  "The  development  is  sweetness  and  purity  of  tone,  clear 
distinct  enunciation."  One  principal  says  that  "directors  are 
recognizing  the  value  of  music  as  a  subject  that  should  be  taught 
in  our  schools,  and  are  doing  their  part  by  securing  special  in- 
struction for  this  subject."  Forest  county  speaks  of  "a  con- 
spicuous evidence  of  growth  and  progress — in  effort  and  im- 
provement of  vocal  music."  Clinton  county  says  "four  high 
schools  bought  pianos  during  the  year,  and  ten  bought  organs." 
This  report  comes  from  Alleghany  county: 

Number  of  school  districts  where  vocal  music  is  taught 40 

Number  of  schools  where  vocal  music  is  taught 844 

Number  of  pupils  studying  vocal  music 37,000 

Number  of  special  supervisors  in  music 20 

Danville  held  an  annual  musical  of  the  borough  schools,  with 
"never  before  such  praise  for  work  the  grade  teachers  had  done." 

Corry  report  says  "another  subject  which  we  feel  should 
receive  consideration  in  every  system  of  public  schools,  is  in- 
struction in  vocal  music.  But  without  a  supervisor,  satisfactory 
results  cannot  be  obtained.  So,  while  we  realize  the  high  intel- 
ligence, as  well  as  ethical  value  of  systematic  study  of  music, 
while  we  know  that  the  culture  derived  from  it  would  be  felt  in 
our  homes,  in  churches  of  the  city,  while  we  appreciate  the 
influence  on  musical  and  aesthetic  taste,  we  are  obliged  to  treat 
it  in  a  haphazard  way". 

Bristol  Borough  says  "music  was  introduced  into  all  the 
schools  below  the  high  school,  and  pupils  made  remarkable 
progress.  Teachers  took  up  the  subject  with  unusual  earnestness 
and  success."  (18.  1911:19— all  ref.) 

In  the  1913  report,  twenty-eight  mentions  are  made  of  music, 
several  reporting  "a  number  of  schools  of  the  county  have  taken 


14 

it  up".  Clarion,  Lackawanna,  Luzerne,  Warren  counties  and 
Coal  township  all  speak  of  an  instructor  of  music  in  institute, 
which  had  not  been  alluded  to  in  the  previous  reports. 

York  county  principal  says  "in  this  age  of  progress,  the 
educational  value  of  music  cannot  be  fairly  measured.  It  is  the 
greatest  art".  (18.  1913:22— all ref.) 

In  his  reply,  Mr.  Schaeffer,  state  superintendent,  stated  that 
he  felt  "music  should  receive  more  emphasis,  but  the  trouble  was 
to  get  satisfactory  teachers.  Pennsylvania  normals  have  taken 
up  the  work  already".  (381.) 

An  interesting  set  of  statistics  was  made  out  for  New  England, 
New  York  and  New  Jersey  in  1910,  upon  the  "Present  Status  of 
Music  in  the  High  Schools"  for  these  states.  It  was  sent  to  679 
schools,  and  seems  carefully  compiled,  yet  is  offered  as  secondary 
source  material,  since  it  was  prepared  by  another.  Three  hundred 
replies,  less  than  half,  were  received. 

If  desired,  a  more  detailed  set  of  tables  may  be  consulted,  by 
reference  to  the  source  material.  Only  the  summary  of  facts  is 
touched  upon  here.  (476.  1911:217.) 

Me.  N.  H.  Vt.  Mass.  R.  I.  Conn.  N.  Y.  N.  J.  Total 
Number  of  schools 

addressed 94  40  45  194  16  75        138  77  679 

Schools  reporting..  30  16  22  89  9  45          57  31  299 

Music  in 14  11  14  86  5  35          50  24  239 

No  music  in 16  5  8  3  4  10           7  7  60 

This  table  is  given  as  a  guide  in  estimating  conditions.  As  is 
noted,  approximately  one- third  sent  replies  from  Maine;  of  this 
third,  about  half  report  the  study  of  music.  Yet  the  fact  that 
sixty-nine  schools  sent  no  report,  does  not  argue  lack  of  musical 
training,  nor  indifference  to  the  subject.  So  on  through  the  list 
of  states,  varying  per  cents  sent  returns.  The  reader  is  merely 
reminded  that  no  report  can  be  taken  as  a  true  basis,  which 
does  not  include  practically  full  returns.  The  omission  of  a 
dozen  would  change  the  report  enough  to  draw  the  attention  in 
accurate  research  work.  Even  so,  the  tables  are  both  interesting 
and  instructive,  when  studied  with  this  distinction  in  mind. 

The  average  time  devoted  to  chorus  work  was  forty-five 
minutes.  No  credit  was  allowed  in  the  glee  club  work  of  the 
schools  reporting.  Total  number  enrolled  was  63,997,  New  York 
having  the  largest  number,  28,997;  Massachusetts  had  19,434. 
The  total  number  of  boys'  glee  clubs  was  1,122,  in  girls'  glee 
clubs,  2,207,  and  in  mixed  clubs,  1,747.  The  average  weekly 
time  devoted  to  rehearsal  was  one  hour,  two  hours  in  Maine  and 
Vermont  outside  of  school  hours.  Three  schools  reported  credit 
for  this  work. 

Out  of  239  schools  reporting,  18  offered  harmony,  6  offered 
appreciation,  2  offered  voice  culture,  and  6  allowed  credit  for 
outside  music  study,  under  each,  Massachusetts  furnishing  half 


15 

the  numbers.     The  total  number  of  pupils  in  harmony  was  38, 
in  appreciation,  168,  in  voice,  21. 

Eleven  schools  offered  preparatory  courses  in  music  for  normal 
school  candidates,  eight  of  these  being  in  Massachusetts.  Eleven 
in  New  York  offered  the  regents  course  in  music  rudiments.  In 
all  these  elective  advanced  courses,  credit  was  given  toward 
graduation. 

SOUTH  ATLANTIC  DIVISION. 

The  conditions  in  Delaware  are  not  favorable  for  the  develop- 
ment of  any  art,  which  does  not  have  a  practical 
DELAWARE  bearing  upon  preparation  for  gaining  «a  livelihood. 
The  school  funds  in  1911  averaged  $350,000.00, 
while  11.7  cents  was  the  average  cost  per  capita  for  the  school 
children,  which  is  lower  than  any  northern  state.  Only  eight  of 
the  southern  states  are  lower.  The  average  of  the  North  Atlantic 
group  is  23.7  cents.  41.4%  of  the  state  population  is  in  Wilming- 
ton, 5%  in  the  smaller  cities,  and  53.6%  in  the  rural  districts. 
There  is  more  wealth  back  of  each  child  than  has  the  southern 
states,  practically  the  same  average  as  Pennsylvania,  but  it  is  not 
evenly  distributed .  The  northern  part  has  much  greater  resources. 

In  1900,  12%  of  the  total  population  was  illiterate;  among 
the  total  white  population,  7%;  while  among  the  negroes,  33.1%; 
among  the  foreign  born  whites,  18.3%  were  illiterate.  In  1907, 
a  compulsory  attendance  law  was  passed,  which  required  five 
months  attendance  from  seven  to  fourteen  years  of  age. 

The  curriculum  of  the  school  is  confined  to  the  elementary 
common  branches.  Manual  training  is  taught  only  in  the  Wil- 
mington graded  school,  with  advanced  instruction  in  elementary 
branches,  while  the  beginning  of  high  school  work  has  been 
organized  in  many  of  the  towns.  The  rural  school  buildings  are 
very  poor,  particularly  among  the  negroes. 

The  average  salary  of  teachers,  including  Wilmington,  was 
$40  per  month  in  1911,  many  rural  teachers  drawing  $25,  some 
even  less.  The  state  has  no  normal  school,  so  the  possibility  of 
musical  training  for  the  public  schools  is  closed  in  that  respect, 
which  is  a  distinct  loss,  wheh  compared  with  the  reports  of 
normal  trained  teachers  of  the  North  Atlantic  States,  where  the 
study  of  music  is  compulsory. 

The  state  has  only  nineteen  public  high  schools  and  three 
private.  (87.) 

In  the  letter  of  the  state  commissioner  of  education,  music  is 
not  recognized  in  the  schools,  while  less  than  1%  teach  it.  Some 
automatic  players  are  used  for  instruction  and  entertainment. 
(382.)  No  supervisors  are  listed  in  the  directory,  (82.  1913:193) 
and  no  college  or  university  of  higher  learning  recognizes  it  in 
any  way.  (495.)  It  was  not  necessary  in  1909  for  a  teacher  of 


16 

music  in  the  public  schools  to  hold  a  certificate.    (14.    1898-1909. 
25.)  ' 

In  Maryland  as  well  as  in  Delaware,  emphasis  is  placed  on  the 

practical  subjects  of  study.    One  county  gives  books 

MARYLAND     I,  II,  III  and  IV  of  Eleanor  Smith's  songs  series,  in 

its  list  of  free  text  books.     Carroll  county  sent  in 

the  following  report  in  1911: 

1910         1911         1912 

Number  of  music  pupils 862        1,094        1,015 

Number  in  1st  grade  classes 1,906        1,731         .... 

Number  in  drawing 3,273       2,094         .... 

Number  in  German 23  23         .... 

The  numbers  in  several  other  subjects  are  given  to  show 
comparison.  Drawing  appeals  more  than  music  since  its  practical 
element  is  evident  in  mathematics.  German,  the  less  necessary 
subject,  has  small  drawing  powers. 

Howard  county  lists  a  public  school  music  course  of  books, 
while  Somerset  county,  also  has  on  its  free  test  book  list  a  Rote 
Song  book.  (17.  1911:137— all  ref.  1912:227.) 

In  1912,  the  Peabody  Conservatory  of  Baltimore  co-operated 
with  the  university  in  a  six  weeks'  summer  school,  by  giving  a 
course  of  public  school  music.  The  arrangement  was  very  satis- 
factory. (17.  1912:144.) 

The  total  number  of  supervisors  for  the  present  year  is  four. 
(495.) 

Of  the  nine  colleges  and  universities  of  varying  sizes,  six  do 
not  recognize  music  in  any  form,  three  give  it  some  form  of 
recognition,  one  of  the  latter  being  for  the  colored  race.  (82. 
1913:193.) 

Virginia  is  marked  by  unusual  activity  in  the  teaching  of 

public  school  music  in  the  normals.     Of  the  fifteen 

VIRGINIA    spoken  of  in  1910  and  1911,  only  two  made  no  such 

provision.     Many  of  the  classes  have  fifty  to  one 

hundred  and  fifty  students  in  the  music  department.     Most  of 

this  activity  began  in  1911.    (18.    1909-11:298— all  ref.    1912:297 

—all  ref.) 

The  list  of  text  books  selected  in  1908  and  continued  in  1912, 
has  a  full  set  of  music  books,  as  tirell  as  two  song  books,  as  out- 
lined by  the  state  board  of  education.  (21.  1912:7.) 

The  total  salaries  paid  to  special  teachers  of  music  in  1911  to 
1912  was  $10,287.60.  (19.  1911-12:31.)  This  would  indicate  a 
large  number  teaching  who  are  not  reported,  since  only  four 
supervisors  are  listed  for  1914.  (495.) 

The  reports  show  that  interest  is  quite  recent,  and  that  the 
growth  has  been  rapid,  the  normal  activity,  as  shown  in  1911, 
not  being,  as  yet,  thoroughly  infused  into  the  school  life  of  the 
state.  This  being  the  case,  the  next  few  years  should  show  a 
marked  improvement  in  school  music. 


17 

The  teaching  of  public  school  music  is  a  phase  of  normal  life 

in  West  Virginia,  possibly  slightly  less  than  that 

WEST  VIRGINIA    of  Virginia  for  a  given  length  of  time,  as  shown 

by  the  school  reports.     Some  of  the  normals 

offer  work  in  vocal  and  instrumental  music  as  well.    Many  of  the 

reports  sent  in  from  the  schools  over  the  state,  make  mention  of 

the  work  in  music.     (22.    1911-12:43— all  ref.) 

The  University  of  Virginia  had  the  following  teachers  in 
1912:  a  director  of  music  with  a  salary  of  $2,500,  and  five  assist- 
ants, only  one  of  whose  salaries  was  under  $1000.  (22.  1911-12: 
27.) 

The  state  superintendent  sends  the  information  that  music  is 
recognized  by  the  state  board,  but  not  required  by  law  and  has 
been  so  recognized  for  four  years.  It  is  taught  very  generally  in 
town  and  city  schools,  approximately  in  about  50%  of  the  schools, 
and  is  now  compulsory  in  the  normals.  (383.) 

The  manual  containing  the  course  of  study,  contains  six 
pages  of  general  discussion,  under  the  subject  of  musical  study 
in  the  schools.  Its  cultural  and  disciplinary  value,  as  well  as  the 
valuable  emotional  training,  is  well  brought  out.  The  teaching 
of  music  in  its  more  serious  aspect  is  emphasized,  and  the  teacher 
led  to  see  his  responsibility,  in  getting  this  result.  (24.  1914 :229.) 

The  High  School  Manual  allows  music  to  be  elective  to  the 
extent  of  two  units,  a  unit  being  recognized  as  a  study  carried 
thirty-six  weeks,  with  five  recitations  per  week,  and  forty  minutes 
in  length.  (23.  1912:8.) 

The  outline  of  study  by  grades,  has  music  in  every  year 
throughout  the  eight  years,  while  all  two,  three  and  four  year 
high  schools  have  it  in  the  curriculum  also  during  the  entire 
course.  The  agricultural  course  as  well,  has  music  as  an  elective 
for  the  first  two  years.  (28.  1912:10,60.  1914:35.) 

The  most  striking  characteristic  of  the  North  Carolina  reports 
of  the  years  1910  and  1911,  is  the  number  of 
NORTH  CAROLINA  new  pianos  bought,  most  of  them  for  the  high 
school  buildings;  occasionally  two  were  pur- 
chased. (25.  1909-10:61,62,63,64,65.  1910-11:7— all  ref.  1911- 
12:19,20,21.)  In  1910,  eight  were  bought,  in  1911,  twelve,  and 
in  1912,  four  were  placed  in  the  schools.  Every  page  of  the 
report  pertaining  to  the  schools  makes  mention  of  one,  some- 
times two  or  three  purchases  in  different  localities,  while  a  number 
of  other  places  mention  the  musical  work.  Thirty-four  different 
mentions  are  made  in  the  three  different  years,  which  is  significant 
as  to  the  awakening  of  interest  along  these  lines.  One  mention 
in  1912,  speaks  of  sixty-four  pupils  in  rural  districts  in  the  music 
study  class.  Doubtless  most  of  the  instruments,  if  not  all,  were 
purchased  by  private  enterprise,  since  mentions  are  made  such  as 
"by  receipts  from  school  plays",  " selling  refreshments  at 
recitals",  while  the  large  majority  were  paying  a  balance  still 


18 

due.  (25.  1909-10:61— all  ref.  1910-11:7— all  ref.  1911-12:19 
—all  ref.) 

In  the  report  of  the  Wakelon  High  School,  the  principal  said 
that  "owing  to  less  demand  for  Latin,  he  omitted  it  with  students 
having  little  college  opportunity,  and  supplied  instrumental 
music,  agriculture  and  civil  government".  (25.  1910-11:65.) 

The  following  quotation  is  taken  from  the  Handbook  for 
High  Schools  for  1910,  concerning  music,  drawing,  domestic 
science,  and  manual  training. 

"Because  no  place  has  been  provided  in  the  curriculum  for 
these  subjects,  it  does  not  mean  that  their  educational  value  and 
importance  are  not  recognized,  and  that  they  must  therefore  be 
ignored.  Music  and  drawing  ought  to  be  in  every  public  school 
in  the  land.  Our  cities  and  towns  are  providing  for  the  teaching 
of  these  branches,  but  very  few  of  the  rural  schools  have  yet  been 
able  to  follow  in  their  lead.  Whenever  it  is  possible  for  a  principal 
to  provide  the  necessary  equipment,  it  is  earnestly  recommended 
that  he  do  so.  The  state  department  is  ready,  at  all  times,  to 
encourage  instruction  in  those  neglected  branches,  and  to  render 
any  assistance  that  it  can,  in  providing  for  their  introduction, 
and  in  stimulating  a  greater  interest  in  them.  (26.  1910.) 

From  the  state  superintendent  comes  the  report  that  less  than 
1%  of  the  schools  have  music  as  a  study,  and  that  it  is  taught  in 
the  normals,  but  not  compulsory.  (384.)  There  are  ten  super- 
visors this  year.  (495.) 

A  glance  at  the  industrial  conditions  of  South   Carolina, 

(page  77  of  thesis)  reveals  the  difficult  racial 

SOUTH  CAROLINA    problem  under  which  the  state  labors.     It 

ranks  second  in  respect  to  the  large  negro 

population. 

School  interest  centers  more  in  domestic  science,  household 
arts  and  manual  training,  rather  than  in  the  less  practical  sub- 
jects. Industrial  needs  direct  the  choice  of  studies,  rather  than 
natural  inclination. 

Only  one  music  graduate  was  placed  in  a  position  by  the 
Winthrop  Normal  and  Industrial  College,  during  the  year  of 
1912. 

Neither  public  or  high  school  reports  make  any  mention  of 
work  of  any  sort  in  music. 

The  normal  at  Little  Rock  has  music  in  its  curriculum,  as 
well  as  the  one  just  mentioned,  so  that  slight  training  is  possible 
and  very  probable  in  the  larger  towns.  (27.  1908.  1909.  1910. 
1913.  H.  S.  1911.  Bulletin  VI,  1913.) 

While  Georgia  does  not  show  great  interest  in  the  subject 

it  is  by  no  means  disregarded  in  the  public  schools. 

GEORGIA     The  First  District  Agricultural  and  Mechanical  School 

at  Statesboro  had  a  "capable  music  teacher"  in  1910, 

and  the  Georgia  Normal  and  Industrial  College  had  a  complete 


19 

conservatory  course  of  musical  study.  The  high  school  courses 
as  outlined  have  no  music  in  the  curriculum.  (28.  1910:138,167.) 

The  Georgia  Normal  Summer  School  gave  a  course  especially 
adapted  to  the  needs  of  the  teachers.  (28.  1912:161.) 

In  1913,  the  agricultural  school  had  a  flourishing  department 
in  piano,  sight  singing  and  chorus.  The  state  high  school  contests 
also  had  music  on  the  list,  which  took  the  form  of  piano  recital. 
Eight  girls  contested  in  1913,  playing  the  following  grade  of 
compositions:  Twelfth  Rhapsody,  Liszt;  Rondo  Capriccioso, 
Mendelssohn;  "Witches  Dance",  MacDowell;  Prelude,  Rach- 
maninoff; "Perpetual  Notion",  Weber;  and  Nocturne  No.  2, 
Chopin.  Elocution,  essays  and  athletics  were  the  other  features 
of  the  contest.  (28.  1913:273,297.) 

Music  is  recognized  in  Florida  in  a  rudimentary  form.  The 
aim  may  be  summed  up  thus:  "The  pupil  should  learn 
FLORIDA  how  to  sing  and  to  memorize  a  large  number  of  sweet, 
simple  rote  songs,  in  order  to  gain  some  appreciation 
of  the  artistic  in  the  home.  Once  a  day  throughout  the  whole 
school  life,  the  pupils  shall  have  a  period  set  aside  for  rote  singing. 
Technique  is  not  recommended.  These  songs  shall  consist  of 
melodies  relating  to  home  and  farm  life,  and  shall  be  of  a  char- 
acter to  increase  the  love  of  singing  and  ability  to  sing." 

Music  is  mentioned  on  the  high  school  curriculum,  but  no 
indication  is  given  as  to  the  time  or  character  of  the  work,  merely 
suggesting  that  an  hour  be  given  for  the  first  two  years.  This 
note  is  appended:  "If  music  and  drawing  have  been  given  in 
the  grades,  they  may  be  omitted  here,  with  the  exception  of  the 
chorus  work.  Should  they  be  given,  no  work  outside  of  class 
shall  be  required." 

The  questions  given  below  were  used  in  1912  for  special 
certificate  in  music,  ten  taking  it,  two  of  whom  combined  music 
with  drawing. 

1.  What  is  a  scale?    How  many  tones  in  a  scale? 

2.  How  are  scales  distinguished? 

3.  Draw  a  staff  and  represent  the  scale  C. 

4.  What  is  the  effect  of  a  sharp  on  a  tone?    Of  a  flat?    Make 
the  characters. 

5.  Write  the  chromatic  scale  of  C  on  the  staff. 

6.  Write  the  relative  pitch  names,   and  the  absolute  pitch 
names  in  the  key  of  D. 

7.  Explain  the  meaning  of  each  figure  of  the  meter  signature. 

8.  Of  what  nationality  were  the  following  composers:    Verdi, 
Mendelssohn,  Gounod,  MacDowell,  Schubert? 

9.  Give  some  methods  that  may  be  used  to  bring  up  the  back- 
ward child.  . 

10.     Name  one  idea  that  should  be  developed  in  each  of  the 

first  five  grades.     (29.  1911-12:218— all  ref.    30.    1912:12.) 

In  answer  to  letter,   the  state  superintendent  wrote  that 


.      20 

music  was  recognized  but  not  required,  and  that  it  was  taught 
in  many  of  the  high  schools. 

It  is  also  taught  in  the  normals,  but  is  not  compulsory,  and 
is  not  given  recognition  upon  certificates.  This  probably  means 
regular  certificates,  since  the  foregoing  list  of  questions  shows 
that  special  music  certificates  are  issued.  (385.) 


SOUTH  CENTRAL  DIVISION. 

The   Kentucky  reports   make  several   mentions   which   are 

worthy  of  note,  and  show  a  developing  of  this  study 

KENTUCKY     in  the  schools.     The  Taylprville  school  in  Spencer 

county  is  spoken  of  as  having  a  supervisor  of  music, 

while  the  following  report  was  sent  from    Winchester  county: 

"Music  was  formerly  taught  after  a  fashion  by  the  grade  teachers. 

About  five  years  ago,  competent  instructors  of  music  and  drawing 

were  employed,  and,  as  a  result,  pupils  have  made  wonderful 

progress  in  these  lines."    This  indicates  a  sentiment  in  favor  of 

better  work  and  specialized  training. 

The  Eastern  Kentucky  State  Normal  School  has  an  instructor 
for  public  school  music,  while  the  Western  Kentucky  State 
Normal  has  such  a  course  free  to  all,  including  sight  singing, 
music  structure,  and  methods.  There  is  also  a  required  course 
to  prepare  supervisors  of  music,  and  a  certificate  is  issued.  The 
normal  has  a  conservatory  connected  with  it,  in  which  work  is 
given  in  all  the  regular  branches  of  a  standard  school  of  music. 

The  state  elementary  certificate  has  music  on  its  course,  and 
the  intermediate  and  advanced  certificates  each  have  two  years 
of  music.  (31,  1910-11:163,180.) 

A  committee  of  ten  of  the  Kentucky  educational  associations 
drew  up  recommendations  for  school  welfare,  which  were  adopted 
in  April  1913,  and  contains  the  following  clause:  "That  vocal 
music  be  recognized  as  part  of  the  course  of  study  in  the  public 
schools  of  our  state,  the  minimum  requirement  being  the  teaching 
of  our  state  songs,  and  the  national  airs/'  (32.  1912-13:17,497.) 

A  special  feature  is  that  eighteen  supervisors  teach  music  in 
Kentucky  this  year,  not  one  of  whom  teaches  another  subject, 
showing  that  salaries  for  music  alone,  have  reached  the  point 
where  the  work  is  becoming  professional.  Moreover,  five  of  these 
are  men,  which  is  equally  significant,  as  compared  with  conditions 
several  years  ago.  (495.) 

The  state  superintendent  writes  that  not  over  1%  of  the 
schools  have  music  as  a  study.  While  it  is  taught  in  the  normals, 
it  is  not  compulsory.  Contrary  to  most  normals,  especially  in 
the  states  just  reviewed,  the  Kentucky  normals  have  conser- 
vatories in  connection  with  them.  Music  is  not  required  for 
certificates.  (386.) 


21 

For  the  year  1910,  the  city  schools  of  Tennessee  had  51,901 

children  studying  vocal  music.     Fourteen  counties 

TENNESSEE    recognized  the  study,  fifteen  did  not,  and  two  sent 

no  report.    The  high  school  report  of  1911  contained 

forty-five  counties.    Twenty-three  had  vocal  music,  nineteen  did 

not,  two  sent  no  report.     (33.    1911-12:124.) 

The  enrollment,  including  high  schools  and  grades,  was  as 
follows  in  1911  and  1912: 

Counties,  1912  Cities,  1912  Total,  1911    Total,  1912 

Vocal  music     66,215  50,920  122,386  117,135 

Spelling 383,772  72,207  455,979  471,850 

Reading                    .        ...382,864  68,759  313,504  451,623 

Algebra          20,337  5,453  25,718  25,790 

Arithmetic 338,017  •  69,095  367,820  407,112 

Geography 173,576  48,103  184,794  221,679 

A  study  of  these  figures  shows  a  real  decrease  in  1912  in  the 
number  studying  vocal  music.  Again  the  number  in  several  other 
studies  has  been  tabulated  as  a  means  of  comparison.  (33. 
1911-12:84,120.) 

The  total  enrollment  for  the  same  branches  in  1911  was  as 

follows: 

County  City  Total 

Vocal  music 77,813  44,543  121,386 

Spelling 374,357  97,493  455,979 

Reading 377,964  75,540  313,504 

Algebra 19,237  6,281  25,718 

Arithmetic 326,352  41,463  367,820 

Geography 164,508  20,241  184,794 

(33.     1911-12:65,69.) 

Enrollment  of  high  school  and  grades  for  1912  and  1913  com- 
pares as  follows: 

Counties,  1913  Cities,  1913      Total,  1912    Total,  1913 

Vocal  music 68,552  33,391  117,135  106,943 

Spelling 353,290  49,353  455,979  402,643 

Reading .  .355,001  53,584  451,623  408,585 

Algebra 19,115  4,538  25,790  23,653 

Arithmetic 303,736  52,700  407,112  356,436 

Geography....  ..156,705  19,912  221,679  176,617 

(33.     1913:30.) 

The  statistics  for  county  high  schools  for  1913  were  as  follows: 

Vocal  music .2,646       English  grammar 3,684 

Writing 4,231       Composition 4,464 

Spelling 6,633       Literature 4,231 

The  number  reported  in  music  compares  very  favorably  with 
other  studies.  (33.  1913:167.) 

Concerning  the  general  educational  conditions  in  Alabama, 
the  reader  is  referred  to  the  normal  school  report  in 
ALABAMA    this  thesis,  Part  II,  Division  I.    Such  industrial  con- 
ditions do  not  favor  art  development. 


22 

From  Booker  T.  Washington,  it  was  learned  that  music  is 
taught  in  only  a  few  grades,  and  no  credit  is  given  for  private 
lessons  outside.  Yet  the  study  is  recognized  in  the  schools,  since 
the  normals  have  compulsory  courses,  and  a  department  of  music 
in  connection.  (388.) 

The  1913  report  of  the  superintendent  makes  no  mention  of 
such  teaching.  (34.  1913.) 

The  appended  quotation  was  taken  from  the  report  of  the 
state  superintendent,  and  gives  the  conditions  of 
MISSISSIPPI  this  state  very  fully.  "Mississippi  has  perhaps  the 
lowest  public  school  curriculum  of  any  state  in  the 
nation.  This  shows  that  the  course  of  study  should  be  "raised. 
The  only  objection  to  this  is  that  some  teachers  are  not  prepared 
to  teach  new  subjects.  But  the  schools  are  not  instituted  in  the 
interests  of  teachers,  rather  in  the  interests  of  the  children.  It  is 
a  poor  teacher  who  cannot  prepare  himself  to  pass  an  examination 
upon  a  few  more  elementary  subjects,  that  should  be  added  to 
the  curriculum. 

"Many  of  the  school  laws  are  antiquated  and  conflict.  A 
constitutional  convention  is  needed.  I  urge  a  commission  to  revise 
the  school  laws,  and  to  study  the  best  laws  of  other  states,  in 
order  that  they  may,  in  time,  become  a  part  of  our  body  of  school 
laws. 

"The  great  problem  of  the  educational  system  of  Mississippi 
is  the  solution  of  rural  school  conditions.  How  best  to  work  out 
a  system  of  education,  carrying  the  best  educational  advantages 
to  all  the  people?  More  than  75%  are  one- teacher  schools,  in 
poorly  equipped  buildings.  Mississippi  ranks  forty-fifth  in 
educational  efficiency/' 

In  regard  to  musical  conditions,  the  only  mention  of  such  in- 
struction is  in  the  Mississippi  Agricultural  and  Mechanical  Col- 
lege, where  a  band  and  a  glee  club  were  trained  under  a  director 
of  music,  who  taught  also  physical  training,  athletics  and  wood 
work.  Students  were  received  in  both  organizations  without 
knowledge  of  music,  and  given  free  private  lessons  until  able  to 
do  the  regular  work.  This  required  about  two  years  for  the 
band,  before  a  student  could  do  efficient  ensemble  playing.  The 
band  was  organized  in  1911,  the  glee  club  in  1912.  (35.  1911-13 :4 
—all  ref.) 

In  the  small  amount  of  school  funds,  Mississippi  is  surpassed 
by  only  one  state,  South  Carolina.  In  1910,  the  average  teacher's 
salary  was  $250  a  year,  while  the  public  high  schools  were  mostly 
of  low  grade.  (87.) 

The  Louisiana  Industrial  Institute  and  the  State  Normal 
School  each  have  a  music  course,  while  the  Louisiana 
LOUISIANA  State  University  mentions  a  course  offered  in  the 
summer  school.  The  following  paragraph  shows  en- 
couraging conditions:  "The  Industrial  Institute  has  a  music 


23 

course  which  shows  steady  and  satisfactory  growth.  All  branches 
of  music  show  over  20%  growth,  the  violin  enrollment  over 
200%  in  two  years.  The  band  has  forty  members,  and  the 
orchestra  has  experienced  players.  There  is  a  splendid  girls' 
chorus.  Twenty  pianos  are  in  use  all  the  time."  (36.  1911-13 
—all  ref.) 

The  New  Orleans  supervisor  of  music  sent  in  this  report: 
"There  is  great  advance  in  music  in  the  elementary  schools.  In 
the  higher  grades,  a  special  teacher  does  the  work  with  excellent 
results.  We  hope,  next  year,  to  take  part  in  the  Louisiana  state 

Eublic  school  teachers'  convention.  In  these  two  years  and  a 
alf,  we  have  tested  many  plans,  and  are  now  ready  to  adopt 
a  definite  one.  The  teachers  show  great  interest,  and  visit  other 
schools.  Two  clubs  were  formed,  also  reading  circles,  for  the 
purpose  of  studying  the  history  and  theory  of  music  and  class 
management."  (37.  1911-12:53,76.) 

The  grade  schools  in  general  have  music  study  compulsory, 
but  optional  in  the  high  schools,  since  the  expense  made  it  neces- 
sary to  abandon  compulsion.  Fifty  per  cent  of  the  high  schools 
teach  the  subject.  (389.) 

Texas  has  really  better  conditions  than  state  reports  show 

for  1912,  since  no  mention  is  made  of  music.    (33.    1912.) 

TEXAS    Reference  to  the  normal  school  part  of  this  thesis  will 

show  that  the  subject  is  both  taught  and  compulsory  in 

the  normals.     (See  normals,  page  80.) 

The  state  university  put  in  a  department  of  music  also  in 
January  1914,  so  that  the  educational  system  is  approac'  ing  a 
plan  of  handling  the  subject.  (See  universities,  page  131.) 

The  state  board  of  education  and  the  state  department 
of  public  instruction  had  one  hundred  prominent 
ARKANSAS  teachers  assist  in  preparing  a  course  of  study  for 
Arkansas.  It  was  submitted  June  1,  1911,  Sec.  16, 
Act.  431,  and  approved.  It  provides  for  elementary,  rural  and 
graded  high  schools.  Under  the  law,  it  is  the  basis  for  grading 
and  classification.  Music  is  included,  and  covers  eight  grades 
of  good  technical  work  and  serious  study.  In  the  last  year, 
standard  songs,  study  of  the  composers'  lives,  history  and  musical 
literature  are  supposed  to  be  the  leading  work.  Ginn  and  Com- 
pany and  American  Book  Company  are  the  series  mapped  out. 
(39.  1911-12:197,240,360.) 

Oklahoma  recognizes  music  and  has  done  so  for  seven  years. 

Ninety  per  cent  of  the  schools  teach  it,  while  it  is 

OKLAHOMA    compulsory   in   the   normals   and   for   certificates. 

(391.)     Frequent  mention  is  made  in  the  normal 

courses  for  the  school  report,  showing  that  it  ranks  with  other 

studies.     The  Modern  Music  Series  Primer,  the  First,  Second 

and  Third  Books  in  Vocal  Music  for  city  schools,  and  the  Common 

School  Book  for  rural  schools  are  the  books  adopted  for  use. 

(40.     1912:101,102,121,201,214.) 


24 

NORTH  CENTRAL  DIVISION. 

The  general  status  of  music  in  Ohio  schools  for  three  years 
is  as  follows  and  includes  comparison  with  other  studies 
OHIO    as  well: 

1911  1912  1913 

Vocal  music 401,426  477,296  482,578 

Spelling 702,581  711,442  703,410 

Reading 718,877  735,930  739,006 

Writing 708,720  727,300  730,530 

Arithmetic 700,102  718,572 

Geography 426,415  536,090 

Grammar 216,169  221,827 

Language 391,977  

History 267,629  256,643  

General  history 24,912  23,298  23,947 

Drawing 399,217  419,171  356,532 

It  will  be  noticed  that  the  gain  in  vocal  music  from  1911  to 
1912  was  75,870,  and  from  1912  to  1913  it  was  5,282,  the  first  gain 
being  enormous.  1911  to  1915  seems  to  mark  an  awakening, 
since  the  other  studies  above  show  also  a  large  increase,  but  none 
so  large  as  that  of  music;  some  studies  decrease  in  1913.  (41. 
1911:110.  1912:58.  1913:67.) 

The  number  studying  vocal  music  in  the  larger  cities  in  1912 
was  estimated  thus: 

Cincinnati..              ..40,895       Dayton..                   ..13,378 
Cleveland 73,476      Toledo 23,002 

In  each  case,  the  music  enrollment  was  larger  than  that  of 
any  other  subject.  (41.  1912:98.) 

Seventy-one  cities  had  paid  supervisors  of  music  in  1912, 
eleven  being  in  Cincinnati;  Cleveland,  Columbus,  Hamilton  and 
Troy  each  had  two;  Toledo  had  three.  The  average  highest 
salary  was  $165,  being  in  Cincinnati;  Akron  next,  paid  $160; 
twenty-four  cities  paid  from  $100  to  $150  per  month,  the  rest 
being  just  below  that  sum,  only  two  falling  below  $50.  Of  the 
villages,  two  hundred  and  fifty-seven  had  special  teachers,  the 
average  wages  per  month  being  $10  to  $75,  two  as  high  as  $100, 
one  at  $75;  $50  to  $60  was  the  average.  (41.  1912:204.) 

The  school  report  for  1913  gives  the  number  of  supervisors  in 
the  cities  at  seventy-eight,  and  in  the  districts  as  sixty;  whereas 
Patterson's  American  Educational  Directory  makes  the  total 
number  sixty-one,  the  report  makes  the  total  number  one 
hundred  thirty-eight  in  1913,  or  a  year  before  the  directory. 
The  one  probably  considers  only  specialists,  the  other  including 
all  who  dabble  in  the  subject.  (41.  1913:216.  495.) 

Uniform  examination  questions  for  county  teachers'  examina- 
tions for  special  high  school  certificates  are  prepared  under  the 
direction  of  the  state  school  commissioner,  and  sent  out  from 
his  office  in  accordance  with  section  7819  of  the  General  Code, 
Those  for  1912  were  as  follows: 


25 

1.  State  definitely  all  the  advantages  and  disadvantages  you 
see  in  teaching  music  in  the  elementary  schools.     (Your 
answer  should  show  that  you  have  studied  the  question.) 

2.  Explain  the  condition  you  find  in  schools  where  music  has 
been  neglected.     (The  attitude  of  pupils,  deficiencies  in 
voices,  etc.) 

3.  Why  is  a  knowledge  of  acoustics  necessary  to  the  teacher 
of  music?     What  is  the  range  of  sound  vibrating  per 
second?    (Minimum  and  maximum.) 

4.  What  is  an  octave?    Write  the  consecutive  ratios  of  the 
diatonic  scale  from  C  to  C. 

5.  What  is  a  chord?     Harmony?     Do  any  three  alternate 
tones  form  a  chord?    Explain. 

6.  What   is   a   cadence?     A   half   cadence?     A   deceptive 
cadence? 

7.  Explain    by    several    examples    your    understanding    of 
modulation. 

8.  For  what  do  the  following  abbreviations  stand?     And., 
D.  C.  Ebb.,  D.  S.  Tin.,  4  tte,  8va  and  Pizz.    (41.    1912: 
313.) 

The  supervisor  of  music  of  Columbus,  Ohio,  got  out  a  splendid 
pamphlet  on  public  school  music  in  1912,  including  all  grades 
and  through  the  high  school.  It  is  called  the  Teacher's  Music 
Manual.  The  discussion  on  the  object  of  school  music  and  the 
teachers  preparation  are  well  worth  the  reading.  As  summed 
up,  the  object  is  "to  create  a  love  for  wholesome  music  among 
the  masses".  Under  the  teacher's  preparation,  the  fact  is  em- 
phasized, that  to  be  able  to  sing  or  to  be  a  musician  is  not  enough, 
but  that  a  special  training  must  be  taken,  and  that  music  must 
be  subject  to  the  same  pedagogical  principles  as  other  studies. 
(42.  1912:5,6.) 

The  year  1910  is  marked  by  great  activity  in  the  school 
music  of  Indiana.  According  to  the  ruling  of  the 
INDIANA  board  of  education,  vocal  music  must  be  taught 
twelve  weeks  in  normals.  In  the  uniform  course  of 
study  for  elementary  schools,  the  aid  of  music  is  set  forth  very 
clearly,  and  consists  of  these  points:  The  aim  is  to  develop 
character,  and  music  does  what  no  other  subject  can  do.  It  has ' 
the  same  psychological  reason  for  being  on  the  curriculum  as 
literature.  Three  phases  must  be  emphasized :  1st,  presentation 
of  masterpieces;  2d,  there  must  be  a  rational  development  of 
science;  3d,  there  must  be  systematic  work  in  musical  expression, 
that  is,  in  composition.  If  well  done,  every  community  should 
have  large  choruses  in  all  stages.  (43.  1910 :190,293.) 

This  course  is  one  prepared  by  a  committee  of  the  state 
teachers'  association,  and  has  the  germ  of  excellent  teaching 
principles. 

The  committee  further  said,  that  the  special  purpose  of  music 


26 

in  public  schools,,  is  to  give  the  pupil  the  power  to  sing  by 
note  music  of  ordinary  difficulty,  and  the  taste  to  enjoy  the 
best  music  in  the  world.  It  divides  into  two  lines:  1st,  teaching 
music  reading.  Music  is  based  on  scientific  principles  which 
must  be  presented  scientifically.  Individuals  and  not  the  class 
should  be  the  teacher's  care.  Introduce  a  new  principle  only 
after  the  majority  know  the  old.  Present  time  and  tune  separ- 
ately, and  progress  side  by  side  throughout  the  course.  The 
teacher  must  not  sing  with  the  class  in  sight  singing;  she  may 
sing  for  them.  Exercises  written  by  the  teacher  on  the  board 
are  valuable.  Insist  on  good  smooth  tone.  The  following  rules  for 
song  singing  were  given:  (a)  attack,  (b)  distinct  phrasing, 
(c)  enunciation,  (d)  quality  of  tone. 


GENERAL  SUGGESTIONS. 

The  teacher  must  prepare  her  lesson.  There  should  be 
occasional  ear  training  exercises  and  frequent  written  work. 

The  technical  part  of  the  lesson  should  be  in  two  parts: 
(1)  tone  drill,  two  or  three  minutes  (tones  and  intervals) ;  (2)  in- 
dividual work  two  or  three  minutes;  (3)  drill  on  the  principles 
of  time  and  tune,  using  the  book  or  board,  changing  key  often, 
and  working  on  what  the  class  does  not  know.  Review  often. 
If  the  time  is  hard  make  it  easy.  Such  are  the  main  features  of 
the  points  advocated  by  this  committee,  many  pages  being 
devoted  to  a  careful  explanation.  The  work  for  each  grade  is 
then  gone  into  in  detail  through  the  eighth,  and  leaves  little  to 
be  desired  for  the  weak  teacher,  not  sure  of  her  musical  founda- 
tion. (48.  1910:190,193.) 

These  remarks  of  the  1910  report  pertain  to  high  school 
requirements  in  music.  The  vitality  of  the  course  is  determined 
by  three  factors:  1st,  attitude  of  students  toward  the  subject; 
2d,  musical  material;  3d,  the  teacher.  Select  music  with  good 
strong  words,  avoid  the  commonplace,  but  have  songs  pleasing 
to  pupils,  use  variety  and  sharp  contrast.  Unison  songs  are  good 
to  emphasize  unity.  Part  songs  educate  the  sense  of  harmony. 
Do  not  work  too  long  on  one  difficulty.  If  a  song  drags,  drop  it. 
In  taking  up  a  new  song,  it  is  wise  to  sing  it  through  without 
stopping,  to  give  a  chance  to  grasp  the  whole.  Plan  to  start  a 
new  song  every  other  lesson  at  least.  It  is  important  that  each 
feel  the  rhythm.  Let  pupils  count  for  the  teacher  while  she 
plays.  Keep  the  voice  placing  good.  Besides  good  vocal  music, 
pupils  should  become  acquainted  with  some  instrumental  master- 
pieces. Utilize  pupils  who  play  in  this.  A  few  words  may  be 
said  about  the  piece  and  composer.  In  conclusion,  it  is  the 
pupil,  and  not  the  subject  which  should  be  the  teacher's  chief  care. 
(43.  1910:239.) 


27 

The  following  training  for  teachers  is  suggested,  in  the  1910 
report: 

Class  A.    Twelve  weeks,  music  daily,  no  outside  preparation. 

B.  Twenty-four  weeks,  music  daily,  no  outside  prep- 
aration. 

C.  One  hundred  eight  weeks,  with  twelve  of  vocal 
music. 

High  school  work  in  accredited  schools.  Music  in  the  amount 
of  one  hour  per  week  for  six  terms.  (43.  1910:293.) 

The  examination  for  a  supervisors'  license  includes  arithmetic, 
grammar,  United  States  history,  physiology,  scientific  temper- 
ance, geography,  reading,  writing,  spelling,  literature,  science  of 
education,  drawing  and  music,  (or  an  examination  for  common 
school.)  If  not  a  high  school  graduate,  the  candidate  must  be 
examined  in  literature,  composition,  arithmetic,  United  States 
history,  physiology  and  scientific  temperance.  If  no  normal 
training,  the  applicant  can  offer  one  year  or  more  work  in  an 
approved  school  of  music.  The  grade  must  be  85%  or  more. 
(43.  1910:323.) 

The  appended  questions  were  the  sets  given  as  indicated: 

FOR  COUNTY  AND  STATE  COMMON    SCHOOL    LICENSE. 

1.  What  is  a  major  scale?     A  chromatic? 

2.  Where  do  the  half  steps  come  in  the  major  scale? 

3.  What  is  a  perfect  cadence?     Illustrate. 

4.  Write  four  measures  in  3/4  time. 

5.  What  is  an  accidental? 

6.  Define  bar,  measure,  rhythm,  flat,  accent. 

7.  What  is  the  value  of  singing  and  of  musical  instruction  in  the  school? 

8.  What  is  the  meaning  and  use  of  a  sharp?     A  flat?     A  natural? 

(43.     1911  and  1912:325.) 

FOR  COUNTY  AND  STATE  HIGH  SCHOOL  LICENSE. 

1.  Compare  Beethoven  and  Chopin  in  regard  to  style,  form,  aim,  and 
general  character. 

2.  Define  tempo  rubato,  movement,  phrasing,  syncopation,  staccato. 

3.  What  is  a  symphony?    Name  three  great  symphonies  and  their  com- 
posers. 

4.  Write  an  eight   measure   melody  in  4/4   time,  and  harmonize  it  for 
four  voices,  in  the  style  of  a  choral  hymn. 

5.  Explain  the  use  and  meaning  of  the  following  terms  in  regard  to 
singing:    covered  tone,  chest  tone,  head  tone,  falsetto,  register. 

6.  What  is  meant  by  the  expression,  tempered  scale? 

7.  What  is  the  difference  in  character  between  vocal  and  instrumental 
music?     In  what  century  do  we  first  find  independent  instrumental 
music? 

8.  Name  five  composers  of  the  nineteenth  century,  and  one  composition 
of  each. 

(43.     1911-12:313.) 

The  questions  for  state  teachers'  life  certificate  are  similar 
to  the  above,  and  may  be  found  in  the  indicated  reference. 
(43.  1911-12:313.) 


28 

A  general  survey  through  reports  of  county  superintendents 
runs  as  follows: 

In  Cass  county,  music  is  part  of  the  regular  township  in- 
stitute work.  A  number  of  towns  have  joint  institute  work. 

(43.  1911-12:197.) 

Music  has  been  introduced  in  Howard  county  in  consolidated 
schools  under  supervisors,  with  a  uniform  course  for  district 
schools.  (45.  1911-12:218.) 

Laporte  county  has  put  eight  supervisors  in  the  high  schools, 
which  supplies  all  but  two.  (43.  1911-12:227.) 

In  Montgomery  county,  "music  is  being  taught  systemat- 
ically where  it  can  be  done  effectively.  Parents  are  requesting 
that  it  be  taught  as  an  essential  and  not  as  a  frill."  (43.  1911-12 : 
235.) 

Morgan  county  added  music,  and  found  that  it  pleased  the 
patrons.  (43.  1911-12:236.) 

The  Parke  county  superintendent  said  music  had  been  put 
in  five  graded  schools,  and  would  possibly  be  required  in  all 
graded  schools.  (43.  1911-12:241.) 

All  of  the  White  county  schools  have  music,  while  several 
township  schools  have  special  teachers.  In  another  year,  more 
specialists  are  expected  to  be  employed.  (43.  1911-12:266.) 

That  results  will  follow  such  unusual  state  activity  is  to  be 
expected.  Indiana  has  been  given  considerable  space,  since  it 
presents  such  a  strong  type,  and  is  highly  representative  of 
western  spirit  in  stage  of  transition.  The  prominence  has  not 
been  given  through  any  idea  that  it  is  the  leading  state  along  this 
line  of  work,  as  that  is  a  matter  where  no  accurate  judgment  is 
yet  possible. 

The  Illinois  school  report  for  1908  to  1910  presents  a  peculiar- 
ity which  is  more  noticeable  than  in  any  of  the  preced- 
ILLINOIS  ing  reports.  Fifty  institutes  make  mention  of  work 
in  music  presented  by  specialists,  which  would  indicate 
that  this  state  is  making  a  feature  of  such  form  of  education. 
Combination  of  subjects  (which  is  shown  as  a  strong  specialty  of 
this  division  of  states  in  the  supervisors'  report,  page  63)  is 
brought  out  definitely.  Thirty-two  supervisors  are  spoken  of  as 
giving  county  institute  work.  Two  combine  manual  training 
and  music,  two  instruct  in  music  and  drawing,  one  in  music, 
reading  and  physical  training,  one  in  geography,  reading,  gram- 
mar and  music.  The  report  shows  also  the  tendency  for  one 
teacher  to  travel  from  one  institute  to  another  in  nearby  towns. 
(44.  1908-9:74,75,76,77,79,81,82.  1909-10:198— all  ref.) 

The  working  out  of  the  combination  problem  means  greater 
efficiency  in  the  institute  work,  financial  economy,  and  more 
tendency  to  uniformity,  since  one  teacher  carries  the  same 
methods  to  several  towns  the  same  season,  diffuses  them  at  once 
among  the  teachers,  and  hence  among  the  school  children  the 
following  year. 


29 


Twenty-two  colleges,  seminaries  and  universities  had  music 
upon  the  curriculum  in  1909  and  1910.  (44.  1909-10:873.) 
Northwestern  University  has  the  reputation  of  having  one  of  the 
best  public  school  music  departments,  and  turns  out  many 
teachers.  (44.  1910-12:379.) 

Music  requires  one  out  of  eighteen  credits  for  county  school 
training  certificates.  For  a  normal  diploma,  one-half  to  one  of  the 
twenty-four  credits  is  devoted  to  "singing  in  the  grades".  The 
Eastern  Illinois  State  Normal  has  music  in  the  second  year,  the 
Northern  Illinois  State  Normal  employs  a  teacher  with  an 
assistant.  The  Southern  Illinois  State  Normal  has  the  same 
provision.  Chicago  Normal  School  has  a  chair  of  music.  (44. 
1910-12:535— all  ref.) 

The  University  of  Illinois  School  of  Education  held  a  high 
school  conference  in  1911,  and  ten  pages  in  the  proceedings  are 
devoted  to  the  efforts  made  in  behalf  of  music.  A  call  was  made 
to  assemble  the  supervisors  of  the  state  in  the  hope  of  perfecting 
a  permanent  organization,  in  order  to  standardize  music  as  a  study. 
A  committee  had  been  appointed  to  investigate  music  in  the 
high  schools  of  the  state.  This  body  found  that  music  was  taught 
in  about  65%  of  the  high  schools,  and  a  much  larger  per  cent  in 
the  grades.  The  work  was  not  uniform,  and  little  or  no  credit 
was  given.  In  nearly  every  instance,  the  supervisors  reported 
examination  at  least  twice  a  year.  (45.) 

The  same  conference  met  in  1912  very  successfully,  and  at 
this  meeting,  standardization  of  the  high  school  music  was  given 
a  prominent  place.  (46.  1912:179.) 

The  township  clerks  of  Michigan  made  this  report  concerning 

the  number  of  districts  in  which  music  was  taught. 

MICHIGAN    A  few  other  studies  are  given,  with  three  consecutive 

years  shown. 

1910-11 

Algebra 1,495 

Arithmetic 7,102 

Civil  Government 6,180 

Geography 7,084 

Grammar 7,032 

Orthography 5,272 

Writing 5,472 

Physiology 6,980 

Reading 7,100 

United  States  History 6,910 

Agriculture 391 

Domestic  Science 280 

Music 441 

(47.     1910-11:185. 
REPORT  OF  MUSIC  IN  INCORPORATED  CITES   AND    TOWNS. 

1910-11      1911-12      1912-13 

Vocal  music  taught 182  193  192 

No  music  study 158  82  107 

Music  not  recorded 52 

No  response 102  72  126 

(47.     1910-11:238.     1911-12:259.     1912-13:259.) 


1911-12 

1912-13 

1,510 

1,414 

7,087 

7,165 

6,273 

6,494 

7,072 

7,111 

6,998 

7,052 

5,485 

5,074 

5,451 

5,645 

6,971 

7,013 

7,036 

7,106 

6,832 

6,911 

469 

613 

521 

395 

436 

381 

1911-12:137, 

,  1912-13:195;) 

30 

REPORT  OF  NUMBER  OF  MUSIC  TEACHERS  TO  A  TOWN. 

1910-11      1911-12  1912-13 

One  teacher 38              39  46 

Two  teachers 3                2  4 

Half  teacher 38              34  29 

No  special  teacher 26  30 

Three-tenths  teacher 1 

One-fourth  teacher .  .  1 

Seven-tenths  teacher .  .  1 

Two-fifths  teacher ..  1 

(47.     1910-11:266.     1911-12:235.     1912-13:290.) 

The  following  statistics  were  made  out  from  the  commis- 
sioner's report  for  1911  to  1912  and  1912  to  1913,  and  include  a 
report  of  the  schools  where  music  was  taught. 

Counties  Number  of  schools  Enrollment 

1911-12    1912-13       1911-12  1912-13 

Alphena 6              6             1,002  1,162 

Baraga 1             ..                 104  

Branch 1             . .                 170  

Calhoun 6             .  .                 300  

Charlevoix 2               ....  200 

Cheboygan 6              6                450  537 

Ionia 4              4                415  480 

Josco 2               150 

Mackinac 1               ....  165 

Mocosta 4              4                225  225 

Oakland 1              1                300  300 

Otsego 1               140 

Benzil 1               60 

Muskegon 1               80 


Total 29  29  2,966         2,499 

The  Wisconsin  reports  for  1911  to  1912  make  no  mention  of 

music,  although  the  Wisconsin  teachers'  association, 

WISCONSIN    which  met  at  Milwaukee,  gave  considerable  space  in 

its  proceedings  to  a  paper  on  "Principles  of  Scientific 

Management  Applied  to  Teaching  Music  in  the  Public  School". 

(51.     1910-12:121.)      The   article   dealt  intelligently  with   the 

matter  of  applying  the  same  scientific  principles  of  eliminating 

waste,  as  are  applied  in  factories  and  industries. 

The  sentiments  of  Superintendent  Gary  are  expressed  in  a 
paper  clipping,  where  his  words  are  quoted,  to  the  effect  that 
experience  has  shown  Wisconsin  that  credit  should  be  given  in 
high  schools  for  private  music  lessons  under  outside  teachers. 
The  same  article  speaks  of  musical  instruction  in  the  schools,  but 
gives  no  information  as  to  the  extent  of  such  study. 

The  state  as  a  whole  has  forty  listed  supervisors,  eleven  of 
whom  teach  drawing  as  well.  (495.) 

Music  had  become  a  settled  fact  on  the  curriculum  of  the 
Milwaukee  schools  by  1909.  It  was  in  all  the  elementary  schools, 
but  not  in  the  high  school.  (52.  1909:34.) 


31 

The  board  of  regents  of  state  normal  schools  voted  twenty 
weeks  of  vocal  music,  to  be  taught  in  the  normals  from  Sept. 
1909,  including  the  course  for  high  school  graduates.  (49. 
1908:96.) 

Minnesota  reports  make  this  statement  concerning  normal 
work.  "The  common  schools  are  giving  increased 
MINNESOTA  attention  to  music.  The  normals,  in  order  to  main- 
tain their  position  of  leadership,  and  to  supply  the 
increasing  demand  for  competent  teachers  of  these  newer  branches 
of  study,  must  provide  additional  instruction  to  this  end.  An 
urgent  demand  is  made  that  the  public  schools,  rather  than 
special  technical  schools  should  provide  instruction  in  these 
newer  branches."  (52.  1911-12:108.)  Music  has  been  put  in 
the  Minnesota  normals,  so  the  state  superintendent  wrote.  (395.) 

As  to  what  extent  music  is  taught  in  the  schools,  the  report 
does  not  specify.  The  directory  of  the  Minneapolis  public  schools 
says  that  "elementary  teachers  shall  be  examined  in  music." 
The  school  corps  has  four  special  music  teachers.  A  course  is 
outlined  for  all  the  grades.  (54.  1913-14:39.) 

The  state  has  forty-six  supervisors  listed  this  year,  eight  of 
whom  teach  drawing,  and  one  domestic  science.  (495.) 

Reports  for  Iowa  give  little  information  upon  the  subject. 

The  1912  directory  makes  no  mention  of  music.    Yet  the 

IOWA    normal  schools  furnish  ample  material  in  such  courses. 

The  State  Teachers'   College  has  a  music  department, 

grown  to  such  proportions,  that  there  is  not  enough  room  for  it. 

(56.    1910:23.)    The  State  University  has  a  school  of  music,  the 

senate  having  a  music  board.     (56.     1910:78.)     Of  the  Iowa 

State  College  of  Agriculture  and  Mechanic  Arts  enrollment  of 

2,637  students,  sixty-nine  were  music  students  in  1910.     The 

school  grants  an  artists'  diploma  in  music.     (56.    1910:210.) 

The  examination  for  uniform  county  certificate  has  an  hour 
set  apart  for  an  examination  in  "elements  of  vocal  music". 
(57.  1911-12:98.) 

The  Iowa  State  College  has  141  unclassed  students  in  music 
out  of  a  total  of  2,307.  (56.  1912:349.) 

The  normals  all  show  the  same  general  activity,  and  have 
compulsory  training. 

Evidence  of  considerable  teaching  is  shown  by  the  fact  that 
the  state  has  sixty  supervisors  this  year.  Eleven  teach  drawing, 
one  combines  sewing.  (495.) 

Correspondence  shows  that  Iowa  has  recognized  music  in 
the  schools  for  ten  years,  and  that  it  is  taught  in  all  the  grades 
and  high  schools.  (396.) 

The  musical  activity  in  the  schools  of  Missouri  gives  it  special 

prominence  in  this  line  of  education  in  the  middle 

MISSOURI    west,  and  may  probably  be  attributed  to  the  influence 

of  larger  towns.    The  table  below  gives  an  estimate 


of  the  number  of  high  school  students  studying  music  for  several 
successive  years. 


1911. 
1912. 
1913. 


(57.' 


1st  class          2d  class          3d  class         Unclassed 
9,606                 553                   231                   345 
9,058                 439                   219                   564 
9,517                 309                   330                   353 
1911:145.     58.     1912:186,194,200,214.     1913:362,370 

Towns  reporting           Towns  reporting 
music                           no  music 
1912         1913                 1912         1913 
46            55                    93            96 

Total 
10,735 
10,280 
10,509 
,376,392.) 

Mere 
mention 
1912 

12               9                     45             39 
6         .9                 '77             72 
35           215                                   261 

215 

1st  class  H.  S . . 
2d  class  H.  S . 
3d  class  H.  S . 
Unclassed .... 

(57.     1912:186,194,200,214.     1913:362,370,376,392.) 

The  figures  below  give  the  number  of  high  school  pupils 
studying  music  for  seven  years: 

1907     1908     1909      1910      1911      1912      1913 
7,800     7,506     9,757      9,008     10,735     19,280     10,609 

(57.  1911:145.  1913:351.) 

The  following  high  school  table  gives  a  comparison  of  the 
number  in  music  courses  with  other  school  studies,  and  for  a 
period  of  seven  years,  affording  also  the  statistical  growth  for 
that  period  of  time. 


1907 

1908 

1909 

1910 

1911 

1912 

1913 

Music     .... 

7,800 

7,506 

9,757 

9,008 

10,735 

10  291 

10  609 

Mathematical  algebra  .... 
American  history 

18,612 
2,060 

19,767 
2,595 

21,421 
2  647 

23,120 

2  832 

23,316 
3  469 

24,083 
3  983 

23,658 
3  911 

Chemistry 

1,550 

1,948 

2  231 

2  187 

2  393 

2  411 

2  372 

German 

3,082 

3,331 

3  818 

3  915 

4  085 

4  317 

4  372 

French 

731 

652 

538 

551 

Drawing  

4,105 

4,413 

4,390 

5,001 

3,670 

5,475 

5,422 

Domestic  Science  

1,777 

2,317 

2,775 

2,565 

3,377 

3,566 

4,947 

(57.     1912:269.     1913:351.) 

The  normal  schools  show  very  favorable  signs  of  musical 
growth.  This  quotation  was  taken  from  the  1911  report  of  the 
First  District  Normal  School  at  Kirkville.  "Music  gains  notice- 
ably in  numbers  and  quality  of  work.  It  begins  to  produce 
marked  effects  in  the  public  schools*  of  northeast  Missouri.  Our 
music  festivals,  held  in  April,  are  a  great  stimulus  to  public 
school  music.  In  April,  1912,  our  chorus  of  sixty  men  and 
women  will  give,  with  the  Minneapolis  Symphony  Orchestra, 
'Faust'  in  concert  form.  This  will  be  the  fourth  annual  joint 
musical  festival  with  the  same  company.  It  becomes  easier 
year  by  year  to  have  high  class  music.  In  the  summer  of  1911, 


33 


the  music  department  gave  'Pinafore'  on  the  lake.  The  ship 
built  for  the  purpose  cost  $400.  Only  two  rehearsals  were  allowed. 
The  performance  was  very  popular,  and  a  snug  sum  was  cleared." 
The  other  four  normals  show  about  the  same  activity.  (57. 
1911 :350,355,358,360,362.  1912 :425,427.) 

The  summer  session  of  the  Missouri  State  University,  1911, 
had  this  enrollment  in  its  courses: 

Music 62         Gymnasium 61 

French 20         English 50 

German 43         Theory  of  teaching ...  42 

Psychology 49,  etc. 

The  total  attendance  was  492.  Music  was  one  of  the  most 
popular  subjects.  (57.  1911:350.). 

The  following  appears  in  the  superintendent's  report  of  1911: 
"A  person  holding  a  diploma  of  graduation  from  an  institution 
having  membership  in  the  ' Missouri  College  Union',  or  from  an 
institution  of  equal  rank  in  another  state,  or  from  a  professional 
school  of  high  rank  that  prepares  teachers  of  music,  drawing, 
manual  training,  domestic  economy,  or  physical  culture  and 
expression,  may  receive  a  five-year  certificate,  after  an  experience 
of  twelve  months,  by  passing  in  pedagogy,  psychology,  and  four 
elementary  subjects,  to  be  selected  by  the  examiner.  After 
forty  months  experience,  this  may  become  a  life  certificate,  by 
passing  in  Missouri  school  system  and  history  of  education." 
(57.  1911:309.) 

The  following  table  shows  the  normal  school  attendance  of 
Missouri  in  1911  and  1912: 


Kirkville 

Wan 

bu 

1911 

254 
eof 
20 
316 

•ens- 
rg, 
1912 

Ca 
Girar 

1911 

deau 

Spring- 
field 

Maryville 

To 
1911 
952 

241 

877 

tal 
1912 
1150 

1911 

250 
with 
110 
125 

1912 

1912 

1911 

1912 

1911 

1912 

Music  
(Compared 
Arithmetic  
Literature  

300 

som 

355 
thel 

137 
arge 
32 
31 

126 

st  cl 

245 
asse 
35 

277 

281 

s) 

66 

44 
128 

88 

Drawing  is  the  only  subject  which  has  a  higher  total,  being 
989,  the  rest  fall  far  below  this  number.  This  is  the  case,  even 
though  music  study  is  still  optional.  (57.  1911:368.  1912:432. 
397.) 

Missouri  has  special  stimulus  from  St.  Louis,  where  school 
music  is  excellent.  There  were  seven  supervisors  in  1910  to 
1911,  and  eight  in  1911  to  1912.  The  grade  teacher  receives  a 
salary  of  $2,300.  The  associate  gets  $1,100  the  first  year,  $1,200 
the  second,  $1,300  the  third,  $1,400  the  fourth,  until  it  reaches 
$l;500  in  the  fifth  year. 
2 


34 

The  St.  Louis  schools  have  very  efficient  instruction  in  music, 
and  appreciate  its  benefits  to  the  utmost.  Concerts  and  public 
exercises  are  emphasized.  The  following  high  school  table  shows 
the  very  unusual  activity  along  this  line,  and  certainly  brings 
out  the  practical  side  of  the  art. 

VOLUNTARY  MUSIC  CLUBS,   ST.   LOUIS  HIGH  SCHOOLS 

Soldan  has  2  organizations  appearing  32  times. 
Central         5  43 

McKinley     3  7 

Yealman      4 
Sumner        3  ? 

Soldan  high  has  also  an  orchestra  of  seventeen  boys  and  ten 
girfe  appearing  14  times,  and  a  mandolin  club  appearing  11 
times  during  the  year.  (58.  1912-13:193.)  The  students  have 
the  privilege  of  appearing  in  many  concerts  with  the  St.  Louis 
Symphony  Orchestra.  In  three  years,  1,800  high  school  and 
1,700  grammar  pupils  have  sung  in  these  concerts,  with  only 
two  rehearsals  each.  The  choral  club  of  Yealman  gave  "Pina- 
fore". (58.  1912-13:193.) 

Assistant  Superintendent  Collins  said,  "It  is  doubtful  whether 
there  is  any  study  whose  mental  and  spiritual  reactions  are 
greater  than  those  of  music  in  its  various  aspects.  Probably 
there  is  no  other  subject  in  the  high  school  in  which  so  many 
participate,  and  in  which  so  many  earn  a  living.  A  way  should 
be  found  where  work  can  be  estimated  toward  graduation.  A 
talented  music  pupil  will  not  sacrifice  music  for  education." 

The  above  shows  that  Missouri  is  making  adequate  oppor- 
tunities where  finances  allow.  The  added  list  of  questions  was 
used  for  state  examination  in  1912. 

1.  Define:  sharp,  time,  beat,  triple,  octave. 

2.  Why  should  music  be  taught  in  the  public  schools? 

3.  Write  what  you  know  about  the  child  voice,  the  adolescent,  the 
adult  voice. 

4.  Write  fully  concerning  your  education  in  music. 

5.  Define  and  write  the  principle  characters  and  signs  representing 
power. 

6.  Define:  allegro,  bar,  ritardando,  andante,  staccato. 

7.  Write  some  simple  melody  and  then  transpose  it. 

8.  Name  ten  great  musicians,  and  write  a  biography  of  one  of  them. 

9.  What  are  the  means  of  increasing  or  decreasing  the  values  of  notes 
and  rests? 

10.  Do  you  favor  any  particular  course  of  readers?     Why? 

11.  Illustrate  and  define:    staff,  flat;  double  flat,  and  natural.     How 
may  a  staff  be  enlarged? 

12.  What  is  the  meaning  of  key?    Key  signature?    How  can  we  tell  the 
key  when  the  signature  is  in  sharps? 

13.  What  is  a  scale?    How  many  distinct  kinds  are  in  use  in  our  modern 
system  of  music?    Write  on  the  staff  the  A  major  scale. 

14.  Define:    time,  pulse,  beat,  triplet,  sextriplet.     Illustrate  the  time 
signatures  in  general  use. 

15.  Define  and  write  the  principle  signs  and  characters  representing 
power. 


35 

16.  Define  and  illustrate:   bar,  double  bar,  brace,  slur. 

17.  Place  on  the  staff  the  following  intervals,  each  in  a  different  key: 
Perfect  unison,  perfect  octave. 

18.  Define  anthem,  interlude,  opera,  prelude,  oratorio. 

19.  Write  the  D  major  scale  and  show  how  the  d  minor  scale  may  be 
found  from  it.     (57.     1912:353.) 

The  late  school  reports  of  North  Dakota  make  no  mention  of 

music  in  the  schools.    One  reference  was  found 

NORTH  DAKOTA    in  1912,  to  the  effect  that  "special  certificates 

may  be  issued  to  teach  music".    (59.    1910-12: 

55.) 

The  directory  for  this  year  gives  the  number  of  supervisors 
as  ten,  so  that  the  larger  towns  are  possibly  provided  for  in  this 
respect.  There  is  no  indication,  however,  of  any  great  interest. 
Two  normals  have  some  recognition  of  it  in  the  curriculum. 
(495.) 

The  following  school  law  passed  the  1909  legislature  of  South 
Dakota:  "Be  it  enacted  by  the  legislature  of 
SOUTH  DAKOTA  the  state  of  South  Dakota,  Sec.  252.  (a)  The 
elements  of  vocal  music,  including,  when  prac- 
tical, singing  of  simple  music  by  note,  shall  be  taught  in  all  the 
public  schools  of  South  Dakota,  (b)  Music  shall  be  taught  by 
instruction  in  all  of  the  state  normal  schools,  and  the  minimum 
requirement  of  graduates  from  such  schools  must  be  at  least 
two  hours  per  week  for  one  school  year,  (c)  In  all  graded  schools, 
the  word  'graded'  is  intended  to  mean  all  schools  having  two 
or  more  grades.  Instruction  in  music  shall  be  given  by  an 
instructor  qualified  to  teach  the  rudiments  of  music.  The  in- 
structor may  be  a  teacher  of  one  of  the  departments  who  is 
qualified  to  teach  this  subject,  (d)  In  the  country  schools  con- 
ducted by  a  single  teacher,  the  elements  of  music,  notation  by 
vocal  and  blackboard  drill  in  connection  with  the  teaching  of 
simple  songs,  shall  be  taught.  But  no  teacher  shall  be  refused  a 
certificate,  or  his  grade  lowered,  on  account  of  his  inability  to 
instruct  or  sing,  (e)  It  shall  be  the  duty  of  the  county  super- . 
intendent  to  have  taught  annually,  in  the  normal  institute,  the 
elements  of  vocal  music  by  some  competent  person,  for  at  least 
twenty  minutes  each  day".  Approved  Feb.  13,  1909.  (61. 
1909:43,77.) 

Below  is  given  the  1912  report  of  the  city  high  school  teachers 
of  music,  with  salaries  and  time  of  service: 

City  Salary      Years  in  position 

Aberdeen $1,150  4     Music 

Armour 495  1 

Brookings 630  2 

Canton 585  1 

Deadwood 810  4 

Fort  Pierre 630  2     Music  and  drawing 

Groton 607  2     Music  and  drawing 

Huron.  . 


36 

City                          Salary  Years  in  position 

Lead 1,350  10     Music 

Rapid  City 675  1     Music  and  drawing 

Sioux  City 1,100  .  .     Music 

Sisseton 563  1     Music  and  English 

Sturgis 640  1     Music 

Vermillion 585  3 

Watertown 720  1 

Yankton 630  1 

(60.     1910-12:79.) 

The  list  of  universities,  colleges,  normals  and  academies 
having  a  music  department  is  so  large,  that  it  is  worth  noting, 
also  the  music  percentage  of  the  total  attendance: 

Total  Music 
attendance  department 

Augustana  College 216  25 

Columbus  College 59 

Dakota  Wesleyan  University 429  160 

Eureka  College 45 

Freeman  College 95  40 

Huron  College 343  113 

Lutheran  Normal 174  6 

Northern  Normal  and  Industrial  School ....  475 

Presentation  Academy 25 

Redfield  College 126  49 

School  of  Mines 64 

Sioux  Falls  College 186  51 

State  College  of  Agric.  and  Mechanic  Arts . .  518  49 

State  Normal  (Spearfish) 490 

State  Normal  (Springfield) 185  75 

St.  Mary's  Academy 110  20 

University  of  South  Dakota 418  76 

Ward  Academy 125  50 

Wessington  Springs  Academy 129  35 

Yankton  College 285  123 

(60.     1912:90.) 

The  conditions  in  this  state  are  very  promising,  not  only 
from  the  preceding  statistics,  but  as  shown  in  correspondence 
with  the  state  superintendent,  which  is  given  in  the  total  tabula- 
tion, page  46  of  this  thesis. 

Conditions  in  Nebraska  do  not  favor  the  growth  of  public 
school  music.  Normals  give  only  one  hour  each 
NEBRASKA  week  for  one  semester,  which  is  not  adequate  for  the 
preparation  required  to  do  the  work.  Much  of  the 
work  has  been  done  by  pupils  from  private  institutions  and 
conservatories,  with  many  failures,  since  the  teachers  have  no 
academic  and  pedagogical  training,  and,  consequently,  are  not 
in  touch  with  school  problems.  Furthermore,  the  west  in  general 
has  not  awakened  to  the  fact  that  this  work  requires  greater 
specialization  and  more  teaching  ability  than  any  other  subject 
on  the  curriculum,  if  the  work  is  to  be  anything  but  a  mere 
pretext.  The  teaching  of  music  is  intangible,  and  hence  elusive, 
which  increases  the  difficulties  very  much.  The  middle  west 


37 

has  not  gotten  beyond  the  belief  that  a  performer  is  unquestion- 
ably a  teacher.    Such  is  seldom  the  case. 

Nebraska  has  not  realized  the  combination  plan  or  teachers' 
preparation  in  two  or  more  subjects,  which  has  been  followed  by 
the  North  Central  Division,  and  which  seems  to  be  a  good 
solution  where  finances  are  an  issue.  The  salaries  are  very  low, 
and  the  result  is  poor  teachers  with  poor  preparation.  In  fact, 
many  of  the  salaries  are  not  self-supporting,  but  are  drawn  by 
some  resident  of  the  community.  The  table  below  gives  the 
salaries  and  number  of  supervisors  in  the  state  this  year: 

13  towns  $100  to  $200  per  year    12  towns  $600  to  $700  per  year 
15       200    300    •        5       700    800 

14  300    400  2       800    900 
5       400    500  2       900   1000 
8       500    600          '  3      1000   2000 

Seventy-nine  towns  list  supervisors,  a  little  above  the  actual 
number,  since  a  few  teach  in  more  than  one  place.  Only  five 
have  combination  with  domestic  science,  and  but  two  with 
drawing.  In  both  cases  not  increasing  the  salaries  much,  since 
the  subjects  take  little  specialization,  and  are  given  for  the  most 
part,  with  scant  preparation.  (63.  64.  1914:76.  495.)  The 
combination  will  necessarily  have  to  be  made  in  required  sub- 
jects, if  the  teaching  is  to  become  sufficiently  lucrative  to  entice 
capable  teachers. 

The  directory  shows  $36,182  as  the  total  amount  spent  in 
this  state  for  the  past  year.  When  one  takes  into  consideration 
the  fact  that  Lincoln  spends  approximately  $45,000  yearly  for 
private  instruction  in  the  grades,  the  above  amount  seems  in- 
adequate. This  condition  exists  in  general  over  the  state,  where 
private  instruction  is  often  even  more  per  capita  than  in  Lincoln. 
The  average  supervisor's  salary  over  the  state  is  $458;  omitting 
the  two  largest  towns,  Lincoln  and  Omaha,  the  average  falls  to 
$419.25.  This  sum  is  practically  below  a  living  salary.  (64. 
1914.) 

State  provision  is  made  whereby  private  work  may  receive 
credit,  but  the  requirements  are  beyond  the  teaching  ability  in 
all  but  a  few  large  towns,  while  the  credit  is  so  small  that  few 
care  to  earn  it.  (64.  1914:76.) 

A  few  mentions  are  made  in  the  1910  school  report.  The 
1912  report  has  this  extract:  "Legislation  in  the  teaching  of 
music  is  needed  in  all  schools  of  the  state.  After  July  1,  1915, 
all  teachers  should  be  required  to  pass  an  examination  in  the 
rudiments  of  music."  (69.  1910— all  ref.  1912  :X.) 

The  above  legislation  could  hardly  be  possible  at  the  present 
time;  since  preparation  in  private  institutions  costs  about 
double  in  one  year  the  expense  of  a  full  university  course,  at  the 
present  salary,  it  would  then  require  about  two  years  to  earn 
what  was  spent  in  preparation. 


38 

While  the  Kansas  school  reports  make  no  mention  of  music 
in  the  schools,  the  course  of  study  for  graded  schools 
KANSAS  has  the  outlined  work  for  the  eight  grades,  with  sug- 
gestions as  to  the  teaching.  (66.  1914:128.  65.  1909- 
10:53.  1911-12:52,69.) 

From  the  state  superintendent  it  was  learned  that  music  is 
generally  in  all  the  grades,  but  not  in  all  the  high  schools.  As 
in  other  states,  stress  is  being  placed  upon  the  subject.  The 
large  city  centers  are  provided  with  excellent  specialists  in  this 
line.  All  but  third  grade  county  certificates  require  music 
examination,  and  this  has  been  the  case  for  about  four  years. 
(400.) 

As  to  the  possible  per  cent  of  schools  offering  such  work, 
there  is  no  clue,  since  reports  have  not  been  sent  in. 

A  large  portion  of  the  state  is  rural,  the  large  cities  being 
clustered  about  the  Missouri  river  to  the  east,  the  stimulus  of 
larger  cities  being  thus  remote  from  most  of  the  population. 


WESTERN  DIVISION. 

In  Montana,  every  school  that  provides  for  music  has  a 

special  teacher.    The  subject  is  recognized,  and  pro- 

MONTANA    visions  being  made  to  care  for  the  training  of  the 

teachers.    The  reports  contain  this  quotation:    ''The 

growth  of  Montana  has  induced  the  authorities  to  establish  a 

conservatory  of  music  upon  the  broadest  art  basis,  and  modelled 

after  the  foremost  American  and  European  institutions.    Courses 

in  voice,  piano,  violin,  harmony,  counterpoint,  composition  and 

analysis  are  given." 

The  public  school  music  course  includes  sight  reading,  musical 
history,  harmony,  teaching  note  songs,  child  voice  and  directing. 

The  Montana  Normal  has  two  years  of  public  school  music, 
taught  by  a  teacher  from  the  public  schools  of  Buffalo,  New 
York.  (67.  1910:17,18,152,154.) 

The  College  of  Montana  at  Deer  Lodge  has  a  school  of  music, 
with  instruction  in  piano,  voice  and  violin  leading  to  certificate, 
diploma  or  bachelor  of  music  degree. 

The  1912  report  says,  "Custer  county  has  added  music,  art, 
domestic  science,  manual  training  and  commercial  work  at  Miles 
City  schools  in  the  past  four  years.  The  teachers  must  be  normal 
graduates  with  two  years'  experience  in  grade  schools.  The  high 
school  teachers  must  be  college  or  university  graduates  of  two 
years'  experience."  (67.  1912:7,61,107.) 

All  normals  have  thirty-six  weeks'  training  in  music.     (401.) 

Half  the  supervisors  of  Montana  teach  both  music  and 
drawing.  (495.) 


39 

As  early  as  1903,  the  Manual  of  the  Public  Schools  in  Cheyenne 

had  work  outlined  for  the  grades.    Educational  Music 

WYOMING     Readers  1,  2  and  3  were  used  up  to  the  eighth  grade. 

Patriotic  and   other  songs  were  introduced   in  the 

eighth,  while  there  was  no  mention  of  music  in  the  high  school. 

(68.    1903.) 

For  real  educational  conditions,  the  reader  is  referred  to  the 
Wyoming  report  of  the  normal  school  section  in  this  thesis, 
page  87.  They  are  not  conducive  to  the  best  results. 

Seven  cities  contain  a  fourth  of  the  population,  and  the  rest 
attend  one-roomed  rural  schools.  The  superintendent  was  unable 
to  give  any  information  which  would  be  authentic.  Inference  is 
that  the  seven  towns  offer  the  sum  total  of  musical  instruction 
given.  (402.) 

The  State  Normal  School  and  State  Teachers'   College  at 
Greeley  have  courses  in  music  leading  to  a  special 
COLORADO     diploma,  and  a  license  to  teach  music  in  the  public 
schools  of  Colorado.     (69.     1911-12:147.) 

While  no  mention  is  made  in  the  late  report  of  musical  work 
in  the  grades,  the  directory  lists  twenty-two  supervisors  for  the 
state,  five  of  whom  are  men.  Four  of  the  supervisors  teach 
drawing  as  well.  (495.) 

Mention  is  made  of  the  work  done  by  the  high  school  chorus 
at  the  annual  session  of  county  superintendents  at  Denver. 
(69.  1911-12:26.) 

Aside  from  the  above  notices,  there  is  nothing  to  be  gleaned 
from  the  report. 

Colorado  Springs  gives  this  note  in  the  Outline  of  Studies: 
''Among  the  questions  receiving  special  attention  from  all 
educators,  is  the  effect  of  the  study  of  music  mentally  and  physic- 
ally upon  the  child,  based  upon  educational  principles.  Music 
has  reached  the  point  where  it  takes  its  place  upon  the  curriculum. 
Scientific  people  have  found  the  mental  effect  of  music  and 
arithmetic  to  be  the  same.  A  well  mapped  out  grade  course  is 
given,  with  chorus  work  and  study  of  folk  songs,  sketches  of 
the  lives  of  composers  and  their  compositions,  in  the  eighth 
grade."  The  high  school  course  has  no  music  given.  (69.  1907: 
191.) 

In  the  city  schools  of  New  Mexico,  music  is  generally  in  the 
grades  and  high  school.     (403.)     The  normal  at 
NEW  MEXICO     East  Los  Vegas  has  a  music  department  with 
twenty-two  pupils.     (70.     1910-12:79.) 

Six  supervisors  for  the  state  are  given  in  the  directory.    (495.) 

Music  may  be  accepted  to  equal  two  units  on  professional 
certificates.  (70.  1910-12:71.) 

As  early  as  1907,  the  Arizona  school  laws  had  this  act  as 

amended    by   the   twenty-third   legislative   assembly. 

ARIZONA     "Sec.  1.    The  board  of  trustees  of  any  school  district 

within  the  territory  of  Arizona  is  hereby  authorized 


40 


and  empowered  to  employ  teachers  of  music  and  drawing,  if 
they  deem  it  for  the  best  interest  of  their  respective  school 
districts  so  to  do. 

''Sec.  2.  That  the  said  teachers  of  music  and  drawing  shall 
not  be  required  to  pass  an  examination,  and  secure  a  certificate 
authorizing  them  to  teach  in  the  public  schools  of  the  territory, 
as  is  required  of  other  teachers."  (71.  1907:58.) 

The  same  laws  adopted  the  Modern  Music  Series  for  four 
years,  or  until  1911.  (71.  1907:81.) 

As  a  matter  of  practice,  vocal  music  is  taught  in  practically 
all  of  the  schools  of  Utah.  Teachers  are  not  required  to 
UTAH  pass  an  examination  in  music,  yet  school  boards  in- 
variably make  it  a  point  to  secure  one  person  competent 
to  teach  it.  The  normal  graduates  are  qualified  to  teach  it,  as 
music  is  in  the  normal  course.  (404.) 

The  following  Beaver  county  plan  is  one  worthy  of  mention. 
It  is  to  have  a  special  teacher  of  music  and  art,  to  travel  about 
and  give  rural  instruction,  in  order  to  keep  the  country  standards 
up  to  those  of  the  city.  Where  consolidated  or  county  graded 
schools  do  not  exist,  this  is  a  very  happy  condition  for  rural 
schools,  and  will  tend  to  obliterate  ignorance  of  the  subject, 
when  country  children  enter  city  high  schools.  As  a  rule,  children 
from  the  country  never  entirely  offset  lack  of  under-training,  in 
attempting  to  make  up  back  work  while  carrying  on  full  school 
study.  (72.  1912:272.) 

For  1912,  Davis  county  hired  grade  teachers  who  were 
proficient  in  music,  for  the  school  authorities  felt  that  the  sub- 
ject was  neglected.  (72.  1912:286.) 

The  statistical  report  of  the  state  superintendent  shows  the 
following  conditions  in  music,  as  compared  to  other  studies,  at 
the  end  of  1911: 


Music 

Reading 

Writing 

Spelling 

Psy- 
chology 

Drawing 

Civil  gov- 
ernment 

Counties  
City  schools 
Salt  Lake  City  .  . 
Ogden  
Provo  
Logan  
Murray 

47,616 

16,695 
5,2£6 
1,988 
1,£08 
936 

59,364 

18,145 
4,924 
1,988 
1,808 
936 

59,242 

16,805 
5,095 
1,988 
1,808 
936 

59,211 

16,805 
4,603 
1,988 
1,685 
936 

17,922 

13,069 
2,730 
548 
370 
151 

56,749 

15,617 
5,260 
1,988 
1,756 
936 

5,089 

1,213 
53 

354 

Total  

74,299 

87,165 

85,964 

85,428 

34,790 

82,306 

6,709 

(72.     1912:815.) 


41 


At  the  end  of  1912,  conditions  were  as  follows: 


Music 

Reading 

Writing 

Spelling 

Arith- 
metic 

Drawing 

Counties  
City  schools 
Salt  Lake  City  
Ogden  
Provo  
Logan  
Murray 

44,186 

16,712 
5,437 
1,970 
2,014 
985 

59,393 

18,151 
5,044 
1,970 
2,014 
985 

59,193 

16,785 

4,947 
1,970 
2,014 
985 

59,141 

16,890 
4,501 
1,970 
1,863 
985 

57,193 

16,752 
5,100 
1,970 
2,014 
985 

56,107 

15,678 
5,337 
1,970 
1,601 

985 

Total  

71,304 

87,557 

85,894 

85,350 

84,024 

81,678 

(72.     1912:19.) 

Music  is  practically  in  all  the  grades  and  high  schools,  100% 

teaching  the  subject,  and  has  been  so  taught  for  six 

NEVADA    years.     The  study  is  taught  throughout  the  normal 

course,  and  the  latter  has  a  conservatory  in  connection 

with  the  school.     Public  school  music  is  the  phase  emphasized. 

(405.) 

While  no  specific  mentions  are  made  in  the  late  report,  the 
appended  note  explains  the  attention  given  to  musical  study: 
"The  reshaping  of  the  school  curriculum  put  in  all  forms  of 
industrial  training,  manual  training,  domestic  arts,  agricultural 
courses,  etc.  A  sort  of  Renaissance  which  caused  a  demand  for 
better  trained  teachers  and  better  salaries.  Nevada  has  never 
been  able  to  supply  more  than  three-fifths  of  its  teachers.  There 
has  been  about  twenty  per  cent  increase  in  salaries  in  five  years. 
There  are  comparatively  few  very  poor  teachers  in  Nevada." 

Concerning  the  work  of  the  institute,  provisions  were  made 
for  discussion  of  music,  drawing,  school  hygiene,  sanitation  and 
play  ground  activity.  This  was  done  because  "music  and  draw- 
ing tend  to  refinement  of  thought  and  taste,  and  make  greater 
enjoyment  in  the  home".  (73.  1911-12:22.) 

Music  is  recognized  in  all  the  schools  of   Idaho,   but  not 

required,  and  it  is  in  both  grades  and  high  schools.    The 

IDAHO     normals  have  the  subject  taught  in  the  course,  while  a 

conservatory  is  usually  in  connection  with  the  school. 

Several  references  are  made  in  the  report  to  the  work  of  the 
city  schools.  Barley  public  schools  have  the  study  in  all  grades, 
through  the  high  school,  and  for  a  period  of  twenty-five  minutes 
daily.  Nampa  schools  speak  of  a  band  of  sixteen  members,  and 
an  orchestra  of  twelve  in  the  fourth  year  of  service.  This  remark 
was  included  in  the  report:  "These  organizations  increase  the 
interest,  as  well  as  attendance,  give  work  at  home  during  idle 
moments,  and  practice  upon  instruments."  The  same  school 
had  a  chorus  of  seventy-five  in  1912,  as  well  as  a  girls'  and  boys' 
glee  club,  all  under  a  special  teacher. 


42 

The  St.  Marie's  public  schools  put  in  music  in  all  grades,  the 
fall  of  1912.  Two  pianos  were  bought  and  musical  appreciation 
courses  installed. 

The  Weisner  public  schools  mention  glee  clubs,  an  orchestra, 
and  a  band.  (74.  1911-12:72— all  ref.) 

Music  is  a  recognized  branch  of  study  in  Washington,  with  a 

suggested  time  of  twelve  minutes  in  the  grades, 

WASHINGTON    high    schools   optional.      Most   grades   teach    it. 

Normals  are  required  to  teach  it  for  one  semester. 

A  conservatory  is  run  in  connection  with  such  schools.     (407.) 

Music  is  required  for  all  certificates  except  third  grade,  and 
has  been  since  1909. 

Private  instruction  is  beginning  to  be  credited  in  the  high 
schools.  (407.) 

The  state  reports  give  as  an  idea  of  educational  progress,  the 
widespread  use  of  the  Victor- Victrola,  or  other  musical  instru- 
ments in  schools  of  all  grades. 

The  normals  have  always  had  music  taught,  some  of  them 
with  facilities  to  do  really  professional  work  in  training  students. 
(75.  1911-12:12,33,41,43.) 

The  directory  has  eighteen  supervisors  for  Washington. 

An  interesting  feature  of  this  state  is  that  a  very  progressive 
board  of  education  requested  that  a  questionaire  be  sent  out 
over  Washington,  in  view  of  a  plan  for  giving  high  school  credit 
for  private  instruction  in  music.  The  circular  sent  out  is  in  the 
nature  of  questions  in  regard  to  viewpoint,  means  of  crediting 
successfully,  and  other  pertinent  inquiries  upon  the  subject. 
The  tabulated  results  are  given  in  the  section  devoted  to  private 
music  study. 

Conditions  are  very  favorable  for  the  development  of  school 

music  in  Oregon.    Although  optional,  all  the  first  class 

OREGON     districts  and  many  of  the  second  class  teach  it.     All 

high    schools    credit   private    lessons,    allowing    three 

credits  out  of  fifteen  to  be  -made  in  this  way.  Thirty-six  weeks  of 

instruction  are  given  in  normals,  public  school  music  being  the 

specialty.    These  schools  do  not  support  conservatories  in  Oregon. 

No  examination  is  required  for  certification.     (409.) 

Although  school  music  is  not  mentioned  in  the  1909  to  1910 
reports,  many  notices  appear  of  musical  departments  in  connec- 
tion with  colleges  and  universities.  (77.  1909-10:97 — all  ref.) 
The  1910  to  1912  report  has  an  extremely  interesting  article  upon 
the  attempt  made  to  bring  the  school  and  the  home  into  closer 
touch.  A  deep  and  widespread  interest  in  agriculture,  domestic 
science  and  manual  training  was  created.  Teachers  were  asked 
to  make  recognition  of  work  done  in  the  homes,  and  thus  estab- 
lish habits  of  home-making.  Juvenile  courts  found  that  children 
must  not  be  institutionalized  so  much,  that  they  were  not  con- 
tented in  a  real  home.  Bulletins  were  issued  suggesting  some  of 


43 


the  ways  to  handle  the  problem.  Some  parents  say  their  duties 
were  reduced  one-half.  Effort  was  made  to  instill  a  dignity  for 
labor.  The  first  step  was  home  credit.  The  second  was  more 
than  surface  knowledge,  and  a  desire  to  become  expert  in  the 
science  of  bread  making,  sewing,  gardening,  carpentering,  etc. 

The  industrial  fairs  cooperated  with  the  State  Bankers' 
Association,  the  latter  furnishing  a  field  worker  and  a  steno- 
grapher. The  Union  Stock  Yards  also  furnished  a  field  worker. 
The  state  educational  department  managed  the  contest.  All 
county  superintendents,  all  newspapers  and  all  ministers  were 
written  to,  the  latter  being  asked  to  preach  sermons  upon  the 
subject.  The  agricultural  college  prepared  a  bulletin  telling 
children  how  to  raise  vegetables,  how  to  do  handwork  and  other 
things,  and  distributed  this  to  school  children.  All  but  one 
county  participated.  The  prizes  amounted  to  $20,000,  and 
seventy-five  thousand  children  exhibited,  out  of  a  total  of  one 
hundred  twenty-five  thousand.  (77.  1910-12  :V.) 

Such  in  brief  was  the  awakening  which  took  place  in  Oregon 
about  two  years  ago,  and  resulted  in  the  unusual  crediting  of 
private  music  study,  even  to  the  extent  of  a  fifth  of  the  high 
school  period. 

Of  any  state  report,  this  shows  possibly  the  greatest  ferment 
and  almost  dramatic  activity  in  educational  life.  Such  a  move- 
ment is  likely  to  bring  about  new  adjustments,  and  institute 
great  changes  in  educational  thought.  This  is  particularly  so  in 
newer  states,  unhampered  by  old  tradition  and  set  forms. 

The  city  conditions  in  some  of  the  high  schools  are  summed 
up  as  follows: 


Town 

Subject 

Salary 

Years  ex- 
perience 

Preparation 

Astoria 

Drawing  and  music 

$900 

2 

Goshen  College  of 

Marshfield  .... 
Hood  River  .  .  . 
Applegate  
Grant's  Pass  .  .  . 

Elsmath  Falls 

Music  
Drawing  and  music 

Music 

900 

'  '  720  ' 
810 

1,066.66 

5 

"3" 
5 

2 

Music  and  Art 
St.  Louis  University 
Ferris  Institute 
Cornell  and  Chicago 
Chicago   Conservatory 
of  Music 
N  orth  western 

Albany  .  .  . 

Music  and  art  

10 

Indiana  Normal 

Washington 
High  School.  .  . 
St.  Johns  

Island  City  .... 
The  Dalles  .... 

Music  
Music  (part  time)  . 

Music  and  drawing 
Music  and  drawing 

400 
360 

900 
900 

25 
6 

5 
3 

Chicago  Conservatory 
of  Music 
Ann  Arbor  (Michigan) 
Conservatory 
Indiana  University 

While  probably  not  a  complete  list,   this  table  shows  an 
average  salary  of  $772.88  plus,  as  well  as  excellent  preparation 


44 

on  the  part  of  the  teachers,  many  of  them  being  trained  in  eastern 
institutions.  This  point  is  very  noticeable  in  the  selection  of 
teachers  for  western  normals  and  universities,  as  will  be  shown 
in  dealing  with  these  phases  later.  The  length  of  time  in  service 
shows  that  public  school  music  teaching  is  becoming  dignified 
enough  to  be  an  occupation.  (78.  1915:61 — all  ref.) 

The  following  note  is  taken  from  the  report  of  the  Portland 
schools  •  and  is  very  interesting  on  account  of  the  pedagogical 
principles  involved:  "The  teaching  of  music  is  based  upon  the 
same  principles  as  that  of  reading.  First  is  the  musical  idea, 
then  its  representation  in  musical  notation,  and,  lastly,  calling 
up  the  idea  by  its  representation,  as  found  in  experience  of 
exercise  and  songs.  Music  holds  as  important  a  place  in  the 
training  of  the  young  as  any  other  study.  Early  ear  work  is 
imitation,  then  comes  powers  of  discrimination.  Dictation  exer- 
cises should  be  complete  phrases.  The  first  work  of  written 
music  should  be  groups  of  notes.  There  should  be  a  correspond- 
ence between  the  soul  of  the  song,  and  the  heart  of  the  child. 
It  is  not  always  the  singer  who  gets  the  best  results."  (79. 
1911:245.) 

Music  has  been  recognized  in  the  schools  of  California  since 

1879.     At  the  present  time,  it  is  generally  in  all 

CALIFORNIA     the   grades   and   high   schools,    100%   taking   the 

subject  as  a  study.     The  normals  require  music 

throughout  the  course,  and  it  is  required  in  examination  for 

certificates.     (410.) 

Probably  more  than  any  other  state,  California  has  music 
upon  an  educational  basis  of  high  standard,  which  is  to  be 
expected,  considering  general  educational  conditions,  and  the 
abundance  of  resources.  City  schools  have  exceptionally  good 
music,  while  rigid  laws,  and  compulsory  instruction  in  the 
normals,  are  bringing  teachers  up  to  the  proper  teaching  standards. 

A  large  and  wealthy  tourist  class  who  winter  in  the  state, 
tends  still  more  to  increase  funds,  and  to  exact  better  work  in 
the  branches  not  usually  emphasized. 

UNITED  STATES  POSSESSIONS. 

In  1907  (correspondence  in  master's  thesis),  music  was 
not  usually  taught  in  Alaska,  but  where  found,  it 
ALASKA  was  generally  under  the  direction  of  the  regular 
teachers. 

Sitka,  however,  had  a  music  specialist  in  1910,  for  five  months, 
with  a  salary  of  $10  a  month.  The  teacher  came  from  Denver, 
where  she  had  gone  through  the  grades.  Seventy-five  children 
enrolled,  and  a  beginning  was  made  in  note-work.  (84.) 

For  present  conditions,  a  letter  from  the  governor  states  that 
little  attention  is  given  to  music,  and  that  he  "believed  none  of 


45 

the  schools  employ  specialists  in  music,  except,  possibly,  in  a 
very  limited  way,  in  one  or  two  of  them.  Such  instruction  as  is 
given  is  dependent  upon  the  inclination  of  the  teacher."  In 
general,  the  governor  stated  that  Alaska  children  are  as  fond  of 
music  as  children  in  the  United  States. 

There  are  approximately  twenty-five  hundred  children  of 
school  age  (six  to  twenty  years)  in  the  territory  at  the  present 
time. 

As  early  as  1905,  music  was  recognized  in  the  principal  cities 
of  Porto  Rico,  and  was  compulsory.     It  was  also 
PORTO  RICO    in  the  grades  and  high  school  in  San  Juan,  and 
compulsory. 

Unless  a  grade  teacher  gave  the  subject,  it  was  not  taught  in 
the  interior,  however.  (Correspondence  in  master's  thesis.) 

The  inhabitants  are  very  fond  of  music,  but  the  speaking 
voice  is  very  harsh.  Pianos  are  used  in  private  homes,  and  the 
children  study  in  the  private  Catholic  schools.  The  finer  sensibil- 
ities are  crude,  since  they  prefer  a  loud,  noisy  style  and  class  of 
music. 

Rio  Piedras  has  a  music  supervisor,  and  training  is  given 
through  the  eighth  grade  and  into  the  high  school. 

Every  town  has  its  plaza  for  band  concerts.  San  Juan  has  a 
concert  twice  a  week.  An  excellent  military  band  is  supported 
at  San  Juan,  and  an  orchestral  society  exists.  Santurce  likewise 
has  its  own  band. 

Folk  dancing,  physical  culture,  play  ground  work  and  national 
songs  are  taught  regularly. 

The  university  itself  aims  to  teach  singing. 

A  stringency  in  finances  has  caused  the  curtailing  of  educa- 
tional expenses  this  year.  Many  teachers  have  been  discharged, 
while  the  salaries  have  been  cut  a  third,  in  some  cases.  All 
accessory  studies  have  been  set  aside,  and  the  arts  have  suffered. 
Possibly  the  condition  is  temporary.  (412.) 

In  the  Philippines,  grades  I  and  II  have  singing,  grades  III 

and  IV  have  music  twenty  minutes  daily, 

PHILIPPINE  ISLANDS    grades  V,   VI   and   VII   have   three  half 

periods  a  week  of  twenty  minutes  each. 

The  secondary  course  has  no  music. 

The  teachers'  course  has  music  for  a  half  period  in  the  gram- 
mar grade.  (85.) 

A  series  of  books  are  required  in  the  list  of  texts  used. 

The  teaching  of  music  is  continued  through  the  high  school. 
Perhaps  a  half  dozen  specialists  are  employed,  but  no  musical 
examination  is  required. 

Music  has  been  required  about  ten  years. 

Manila  has  a  symphony  orchestra.  The  first  program  for 
1912  to  1913  included  the  overture  "Der  Freischiitz",  and 
Dvorak's  New  World  Symphony.  (86.) 


46 


Q 

CO 

X! 

"^  *c 

^  "a  >» 

4J 

H 

Bo- 

.2? 

^  o  PO 

S 

SS 

^kx 

/ 

3  -^  ^ 

- 

-«  g 

T3  O 

• 

C  *^  M 

0 

Q 

W      QJ 

C^ 

*M 

'>>      ^ 

. 

13 

:NTEN 

If 

|| 

d 

o 

43 
1 

gj   (-1   tfl 

« 

w 

1 

1 

> 

PH 

^^ 

* 

i 

£\     ^  M  S 

+_> 

'S 

I 

W 
PH 

!i 

^ 

1 

1 

i  !ti 

IS 
c 

-S 

CO 

.rX   ^£ 

r^-H      S 

*g 

"*"*                            KP 

rt 

a 

H 

•^  tn 

C<3rC 

. 

02 

W2 

s 

cc        ^^^ 

, 

S 

0) 

H 

0) 
h-  1 

£     02 

13 

^ 

£ 

o 

^j         -       Ctf  IO 

o 

c 
i—  i 

H 

H 

CO 

1 

g 

g3^ 

E 

£ 

a 

H 

O   N 

Oj 

0) 

•s 

H 

it 

£ 

d 

:    | 

0)       . 

CO 

UH 

3 

S- 

>> 

51 

rs   a 

§ 

t-, 

o 

: 

:    | 

^   S 

525 

1 

t-H 

1 

c 

1 

answer 

.§ 

'3 

'    1 

j 

1! 

H 

CO 

0> 

i 

3 

"o 

•    '3 
;      cr 

rt 

II 

P 

P 

I 

o 

c 

•     _^  • 

"S 

II 

a 

S 

u 

CO 

^ 

;     o 

02 

*"    to 

4J 

^^ 

'o 

in 

42 

•  .      c 

-tJ    z~ 

^s 

0) 

O 

3 

r/T 

^9 

ff 

•om  correspondence  with  sta 
As  will  be  noticed,  almost  z 

[S  GATHERED  FRO! 

music  recognized?  Is 

zed  and  taught  in  all  th 

1 
O 

.s 

1 

Q) 

02 

'£ 

a4 

sa 

t! 

zed  in  nearly  all  schools 

t  not  required  

s  recognized  ,  .  . 

'        X2 

^    1 
:     o 

1 

t 
| 

1 

?•« 

O 

£ 

E 

0 

2  3 

'o  a1 

1 

s 

*3 

'§>'. 

M 

H 

>—  i 

0) 

J> 

02  4J 

o 

tn 
0) 

8 

0         §| 

o 

O 

a  s 

Q 

PH 

t> 

PH 

K*"1 

^ 

^       PH^^ 

^ 

PH 

.  § 

n 

O 

g 

s 

C    d 

O 

"S 

•S 

A  condensed  sumi 
iswers,  in  brief,  to  the  q 

UBLIC  SCHOOL  < 

1 

CO 

7or^/i  Atlantic  Divis 
Vermont  

Massachusetts.  . 

Rhode  Island  .  .  . 

Connecticut  

.2 

1 

« 

1     1 

••! 

2  l 

Delaware  
West  Virginia  .  .  . 

North  Carolina.  . 

Florida  

H 

PH 

<« 

co 

47 


ll 

1 

^» 

ll 

£x                                             .                   T* 

|| 

"i« 

O            «)                                        vO                         C                         K? 

^      -§                      o               rt 

02  b 

2.C 

"c 

W£ 

^        oS                   oi       01                   02                  oo 

>      &b             ta      -M              •£              -g 

o        .-&3 

^3 

^  '*|    8        o   5                 s 

o      ,S      «*-"              ^      <1                               <J       ^ 

|        oJ        S3^ 

S3   0 

tJ           '^     >4 

"*£ 

7-1                     C«                                                        ?                               «j 

c3              ^ 

-U    0 

^                     •           •                    03           •           •       *  O 

•           '  W               ^    rrt 

•*•"    O3 
03 

HH 

•              •          ^^               •            O3            O3                         ^^O3O3_. 
OO^OdJQJ                           _(3^djO 

!7'!7'O!7!>-|k|                         i>nbH^ 

S      o      g^ 

2      :            :      :      :                  : 

*>>                 •      •      • 

<u         ! 

^ 

o      !            !      ;      ;  .               ! 

o      : 

11 

J>     K/l 

t    j:            :      :      :                  : 

o                  2            2 

e*H           *                    03           *         o3 

S      : 

o 

o  o 

•—?              '                           r**              '            r*>                             '               ' 

oi 

W  o> 

'£           '.                    S3           •         <U                      •         O>                      '. 
f-<            •            •         oi            •         >                       •         >» 
03            .            .        ,2            .         & 
PH                            S                 OT                     •       <1 

§ 
H 

03 

Q) 

;      !      ;    3      •      •            •                  '. 

!               S 

o        •        • 

"-P 

S 

:      :    1      :      :                        :  *  : 

.1 

rH                .                                                                                 . 

r* 

.fa 

i        •     .5f        •        •                                 • 

P 

g 

:      :    .S      :      :                        : 

0 

4-i 

^H                                                                                                         '                     ' 

:     ° 

rt                                                •          • 

03 
h-  1 

;    f  § 

:    * 

V2                                                                        0) 

; 

TJ 

:          o      :      :                  :    "3 

-d    1 

H 

CT1 

•     S    "% 

1 

i    1  M      llj 

:    '1    1 
S 

£ 

4J               .                           bfl                                                                                     -M          ^ 

•     ^,      « 

o 

8    .  :          .S      :      :          _      :    5     rt 

:     §    « 

'Jn 

S         '_->>'.'               01         '      _r     -2 

•     -o      G 

1 

03 

I   :•    1    1     :     :         3:^1 
I*     :    |  1     :  •   :         1     :    |  ^ 

\  i  fl 

Tf\                                            -4->                     rf)                                            +J> 

ooSoOo;               Ooo>o 

*~y        hx        /v*        r  >        *~7        K_i                     >~7        K^        ^v^        ^~^ 
^H         rA         PH         N*'         ^H         ^^                       r\         r^         PH         XH 

{H      (§      £  ^ 

J      :      :      :      :      :      :    'I      :      :      :      •• 

-S 

I      :      i      :      :      :      :    I      :      :      :      : 

;    ;  |_ 

3 

& 

?    §  J>   j  "i  :  j    |  -S  ••;        g| 

•          •        03 

:    'g    Q 

0    g  1  1  1    1  I  ^  ;s  I  i    g 
«-8.  .S-.js.lBa.ia^'aSg 

SHW<J1JHO      £C>£^S 

1  i  I 

48 


'Sic- 

.-§                                               •§ 

•j3  "c 

J3                                                                                       rt 

T3    ^ 

—  i                                                                                                                            O^ 

C  " 

«                                                                                      1 

^     Q) 

r«                                                                                                     J3 

^±J 
£  J3 

f                          1                        N 

^  §            1           !l 

r~]  *"^ 

-u                                                                                       C  M 

• 

li 

S3                                             >>                                       ^x 

C3                 j^                                                                                                             J^                                                                                                   ^       kjQ 

M    s|                .s                '^'S 

o 

0 

TH 

••S  g 

^  X             oj            •          oT                             i       S  6 

. 

en 

hH 

*  ^   5  *      £          £?§£s° 

£ 

M            :              :      :      :      :      : 

elj 

S                  '                               '                 •       w 

o>              ;                 ;       ;              ;     e3 

f  i 

S3                               :     S      £       '     & 

03 

KH     - 

£>                                                              c^         ^                     c3 

i-H 

«  g 

0>                                                                     (D          0> 

:>>>>: 

O                                                  '         X         X                    o 

0 

W 

c 

'     fe                i                   •     bo     bo        •     fe 

s 

O               ...                  a)  c-i 
J?              ...                  g  £0 

gTS      : 

FT) 

•5  t2 

8 

x        I          -s« 

o                    o                        fi 

o 

00 

M 

C3                                             r^H                                                          CG 
O                                                     W                      *                      *                 S*   *^T< 

5:3  o3 

1 

!                '      c            •     s        •        •      s5  o 

g                 •         CS           •           •       </j  !C 

03  a 
tj  M- 

.  -. 

K^                                                                    CX 

"* 

;                ;       o            ;     g                ;        .  o 

-g  > 

QQ 
t-H 

^             2               'O  *~ 

-r3x 

•                   •                        •      •  rt    -               '       J3  ® 

o^ 

•3 

B               •        Q                     •       ^TJ 

•5      •                  S               g             '    ^  2 

I 

'       o,       !              'o  be 

2  c 

W)g 

1 

t-, 

'1     :           :    l|     ;    -S     :'?    p 

2    •  :         -ri  .  S  I      :    "S      :    1.  f  • 

-g      •          s    JL^         ^          «     s^ 

4^  a» 
22  M 

*    OJ 

0 

c                 '3^2           ^           i    .S  § 

J 

1 

to 

1—  I 

'g      :          1  I?     :    I     :    1    ^'g 

!  i     «  H     til  iii 

3*8         ; 
'rt.tJ    .     • 

ii-s  ; 

ow                   0T-(f>--.-^:naro  >^ 

«   jS        ^I'^ll^^fS^^ 

|ss| 

1      i      i           :     :              i:.;!: 

t      :                 ;   ;   :   ; 

Ik 

$ 

5           :    |      :      :       0      :      !      : 

"08 

"S                                        "^                              •                   SH 

GO 

1   1    »   1    §  .1     |     \'-:i     \   I 

S   -;M,  "1  .  jt  :•!''.  1       ?x^_g^ 

•        .2 

1    1 

^-§§^0^              l^^'Srt 

1  :S  .fl..i.  »  >    *  $  *  2  & 

0          0 

*          & 

49 


I'l 

S-i    O 

1! 

1          | 

i-j                                         (-\ 

.-§ 

'2 

-M      Q 

"o 

« 

rt?    "*"^ 

c             g 

T3 

H 

Q            1 

0                     0 

-j 

a 

:                *  ^        S 

j 

Si 

3 

r—  I                      ^ 

VI 

01  A            a 

fv. 

v                   '. 
'Si 

li  1 

«2  ^ 

J2                '• 

!                           en                ^ 

5  1 

o 
o 

•s  o       1 

1 

g'2 

I*. 

i)  'rt 

'.                                bo            c 

.S 

& 

Ig        8 

6                                  6     ^b          c 

3s 

<1 

GO                   £< 

*~r                                          +-T       ^  +*            17 

^-t                             /H     <;            /^ 

»—  i 

o>  1/1                     •       '            -F^ 

73  be 

i 

:    |e      :          j      :          S 

II 

s 

r2 

.2 

e--' 

|.s 

1                                          ^ 

;   |g|  ;                   | 

a| 

II 

M                                ! 

•   bot«"~'  •        • 

03    ^ 

t(-^    w 

9 

:     ^a^l    :                                      a 

"^  >'O 

O  "^ 

c  ^  m    •                                   ^ 

rH    ^    0^ 

>> 

c 

I    ;        48  fe     !                      • 

c  J3  tj 

0 

- 

"jajx     •                  oJ        M                  tc 

'2               gj 

Q 

1        {S 

:    ££=  •         -2    ^         ^ 

3*0     £ 

B.o 

:     It 

II 

l| 

'C  a) 
o>  ti 

cfl   03 

s§| 
S^'3 

02   03  o 

H- 

•alt 

i"l  s 

0)    C3                «* 

bO-5^       t3 

oSc      o 

^^            ^ 

:    -1S  = 

•      S  o>  2 

:               :            :     S3  8 
:               :            :     §>»S 

•    S-0  S 

:               :            :     M^  § 

:     §         :            :     §£u 

O  a^ 

;i  I    ;^ 

.°           •                     • 

cc 

:    |      ;      : 

2      :          ^ 

:      :         :    '1      :      : 

"^                            .                         Ct 

•                      KJ           ^                 •              ^ 

1 

*>       '        's     «       '     '2           'i 

t^            *                     rt 
^            "                   ^ 

S         ^                 S         ""§          0)         '&                      « 

GO 

§      c            ^ 

1  I    ! 

'-T3          Q               ^          53          *-.         .S                      ^J 

1  i    1  1  1  i     ! 

oa 

1 

*-     ^>             c£ 
o 

u    £       e^    |    Q    £          ;z 

S 

50 


O          ;- 

-C         (U 

o    -° 


^ 
ex 


be 

e 

! 

1 

O) 

o 


c 
I 
'S, 

Q. 

•s 


S 


rt       ? 

I   1 


O     f    O 


51 


gj 


C    O 
•2  "^ 


1^ 


Any  credi 
les 


is 


. 
.-eg1 


-2  2 

l1 

ll 

O>    r/> 


•a 


1=8 


O     JH   -»J 

M£l 


1"    - 

S  =«  o  v 


•-'i  c 


Ii 

r  x  O 


52 


O" 

§ 


2    W 

3   (1) 

+**s 

II 

8 

~oi 

1       - 

bfl            0 
$3            "^ 
'S            bo 

^ 

O              c 

&              S3 

£< 

^            5 

X 

e^« 

S           c 

«            £ 

«§  « 

^s  ^ 

03                '& 

'       -M    03 

si  ^ 

"o          ,0."^ 

r 

as  1 

a^      *  ^ 

d 

"o  o      "c 

d      6 

S  §     S.^; 

<J 

*&  **     ^ 

*7         )-jr 
^       XH 

Z        02 

a 

4^  4-»  •—  i    c3    O 
1—  1    O3    OS          4^ 

L 

•    CO    O    bO-l-^ 
C   Q)    3;    O          Q, 

o 

Q 

$          a 

S        ^ 

>H         ^ 

^       >-<  rt  a^  ^  fi 

J3  "En     >-i  r^H 

9.1 

|| 

d  ai:i 

I   -aS^d 

la      Sog.S^'w 

1  ll1!! 

c    SlS3"8 

11 

VI    ^ 

'Jl 

? 

•^       rs  3  -S  C  0 
«        «  cS  ^  (jj  be 

LL               "  L_J     Q)     Cl 

1   -I|KI  = 
-§     |^2o 

z  |§^-sl 

It 

Si 

3 

. 

8 

1 

1        as             I 

i 

(^                ^                         "— 

^H            rt 

:        ^g 

|    |      | 

^  !  1 

•    jz;     ^ 

1    i 

T3            t> 

H-  1                 !> 

53 


c:  j«  ea 
" 


• 


CO 


i 

•2§ 


0) 

' 


o 

H 

— 

Q 

6 
o 


CO 


ia 


54 


GO 

. 

—  -t         »>4J      Q 

EH 

rrt          C*"» 

^ 

.2     £)      Q    -*J 

W 

|^ 

1 

>»                                                                                        0-«Sg-S 

Q 

c  o>  £ 

^  >  ^ 

d 

1 

^                                                                                          A     2     g'B      g 

1                                       %^-~^u 

H 

"  1 

e 
o 

So                              '   if'S  o^> 

HH 

O             ly 

0 

6      6 

•Q                                                                                  ^      5  ^  t+_'C 

tf 

Q 

g 

Jz;                             pq  c 

ry] 

03    03    ^ 

P 

1  = 

r2      O 

O    03  "XJ 

to 

W 

5 

fll 

.H 
p 

C/2            CQ 

1                  l^l 

£ 

.a|-3 

S 

1      1 

s                    s  >-s. 

O 

o 

"o     'o 

0          0 

'o                                  "o'C 
o                                   oP-i  g 

EH 

'§,."  2 

1 

o       o 

02            03 

o                                       o 

jj  ^Q    ^ 

a 

o       a 

o                                         o  ^  ^  nj 

£-* 

e**fl 

^^ 

**™j          "^ 

**~j                                        »i^  ^  5^  cj 

GO 

8* 

PLH 

1  1 

1                                 |§o1 

tf 

HH 

c- 

Q 

*                                                                   ' 

QUESTIONNA 

music  in  normals 
Compulsory? 
umber  of  weeks? 

03 

13 

o 
a> 

d 

:    J 
i    3 

a 

4-            S 
rC              O 

ba       w  j/5 

1   "Si 

03           *    ^ 

I  i        \ 

^       o 
>%      a             <^ 

•8-5    i  : 

1 

A     * 

| 

1    P 

O^             »rH                                         QJ 

8    1         II 

TH       <;                 |JL<            PH 

Q 

i 

bfl 

.S 

i     ^     i 

S 

>> 

o 

s 

w 

^  c^« 

aJ          i' 

'fl              • 

w 

£"S 

2«     : 

3 

<d 

""§  ^ 

c"S   ; 

.2 

o 

s  i^ 

"~"  J^    1 

'•+3 

to 

-§  ° 

O  °-M 

S  ^J         ! 

fe 

^HH 

03    03 

"M  S        rt 

O 

^  c    • 

•SS     "S 

2 

c 

oT  ^  <^ 

-.S     "^ 

HH 

^ 

oj  ^Jt*~l 

^  "c3      o 

Q 

>H    ^^ 

^"^     ^ 

5? 

o 

S 

'             ss       i 

^ 

OD 

:            '1       • 

HJ 

:         *s      : 

Q 

S         ^ 

•g          J 

:     cs    S      :       03 

W 

-M 

•-§      :     8 

:    *2     «       :       'S 

0 

to 
O 

i 

-2 

to 

i  ~s  ^ 

I      o      | 

1  >  i 

!  1  1 
!  1  1 

3    •*     § 

Ills     1 

b-i      *>>      SS        S*           f> 
^         §       ^         rt             ^ 

5     §    «   :4         ® 

Z       PLH        |       Q             ^ 

PLH 

^ 

1  ^Q 

55 


OJ 

^ 

*«3     <vi 

§ 

g      b 

1 

^  >  £ 

i 

•C 

OX    M 

>>       S3 

, 

'55 

O         o 

i      6 

& 

°*       5     8 

6          $ 

H 

>^ 

^       S    >H 

Z         >< 

is  emphasized: 
ool  music  or 
al  music? 

1  music  

1               : 
1 

§5  o-^ 

o 
o 

1 

o3   ^  o 

X 

X            JR 

X  o  oJ 
CX^   *-" 

CJ                   Q) 

OT          rt 

3 

+2  "n  ft 

'. 

o 

o          ^ 

a) 

c3  ^ 

o           X 

^3 

^"^              ft      X 

r^                 r^ 

^Pn 

•3         ^ 

X 

p         t=l      "o 

0               o 

^ 

>         PQ 

PH 

p  .                 ^^          p£ 

^         PQ 

Is  musk  in  normals? 
Compulsory? 
Number  of  weeks? 

1         1 

a            o 

o           o 
S3             S3 

3             3 

-M"  b    -^  b 

X  O       X  O 
be  02        be  tc 

2^        2^ 

*  a    *  ft 

t^          lr^ 

Yes,  but  not  compulsory. 
Time  optional. 

Yes,  not  compulsory. 
Time  varies. 

Yes  
Yes.  two  vears'  trainincr  . 

J  °1    i 

*3      : 

.  cr 

&8      : 

O   <D 

3.§      : 
ft-f3      : 
»    S  £ 

§o 
S3 

ri«J 
^^J 

CO    O           CO 

S  2      <u 

>HC         >H 

3 

BQ 

o 

o3 

1 

8 

11 

'o 

! 

-1 

1        : 

£ 

JH 

3 

Q        : 

<fi 

•           *c« 

S                    ' 

>> 

.S         : 

Cj 

;          'o 

S                    : 

C 

<u 

K*> 

-t 

T3 

^d 

S3 

'fl 

0             .«        C 

0             S 

O 

O 

Z         >     JZ 

!Z;             ^ 

f  ;     ; 

•2 

g 

S  1 

1 

"c8 

'J2       °             • 

^      >> 

rA 

W 

|      O           J 

5*           O 

i    1  1 

2 

| 

^o          ,§ 

5  1 

^^           ^ 

1    ^ 

H         <l     ^ 

1     1 

<u          4^ 
EH            0 

^§ 

56 


£ 

§ 

0 

"g 

i-i 

w 

S 

€ 

rrt 

>H 

9 

S 

C  <U  o3 

03 

j^"! 

O1 

3    03    m 

O^C  % 

A 

* 

'o 

>>       g 

o 

0> 

1 

0        g 

§ 

S 

g     8 

6 

O 

S 

6 

6 

^ 

3 

OJ 

>H         >H 

5? 

^ 

<J 

g 

^      IM 

73 

o 

"S             PJ        _ 

o> 

I 

What  phase  is  emphas 
Public  school  musi< 
practical  music? 

Various  requirements 

Both,  especially  voic 
public  school  music. 

Public  school  music.  . 
Public  school  music  .  . 

'o 

All,  but  public  school 
chiefly. 

Public  school  music 

Public  school  music  . 

Public  school  music.  . 

0-' 

>> 

73 

CU 

03 

—  -• 

^ 

0) 

CD 

c 

O 

^       c^« 

2 

i 

S 

m 

o 

3 

o3       ^ 

o    . 

^ 

• 

'.£ 

03 

'3 

-M 

ill 

^1 

a 

e     : 

.S 

1 

cr 

O) 

(3 

1 

1     e  03,1 

*3 

o 

g      : 

•*2 

^ 

JZ 

c3  o 

"a  ?a 

o 

o 
o        ; 

O1 

<* 

T3   co 

^ 

•«  P.I- 

0    fl   0- 

'3  o-s 

1*1 

O3        £H 

Taught,  bi 
Not  standa 

o 
c 

I 

bo 

1          ' 

03             '. 

bo 
g 

i—t 
O 

8 

Taught  an 
Time  varie 

CU 

03 
^  0) 

I/I   g 

o>  S 

Yes,  for  norn 
Four  weeks 

C— 

CU 

l-s| 

II 

CU 

-i-i 

fl  fl 

2  J2  c 

^i 

0> 

5 

bc'o  cu 

Jl 

4-» 

03 

"S 

•s  *1 

|sl 

-S  ®  c 

03          — 

t_ 

CO  ^"§ 

4J 

fl 

CU 
49 

g 

ii 
i« 

1 

il:t 
ill 

J 

03 

^JS  bo 

I 

i 

>> 

e 

0 

03 

*_^ 

a 

d 

"1"^   O> 

0 

C  S  ° 

03 

< 

fl 

03 

>H"tJ4- 

0 

Q       • 

0 
g 

o3  o  ^ 
>g  co   03 

02 
0> 

jg 

i 

03 

1 

^      : 

i 

03 

1      : 

03 

I     | 

•g 

1 

03 

1 

^     o 

1 

x      d 

03 

O 

41 

03 

CO 

o       O 

I-H 

u      c 

S  S 

1 

i—  i 

03 

S 

O 
QQ 

,£2 
O> 

.3 

1 

57 


JBB 

e      ^ 

C        (-1 

0^5 

OX  en 

>»       g 

o    8 

8 

O 
g 

6 

en 
CD 

'£ 

0 

6 

Is 

4 

^ 

Is 

.s 

.22  > 

r-j 

*t/2    O  <-v. 

o 

QJ 

js  i.si 

•-Is  ^ 

CJ 

CJ 

CJ 

CJ 

'en 
3 

g  S  3 

g  03  o» 

i 

'en 

3 

*3 

'en 

3 

a)'o 

c'S 

£ 

s 

a 

S 

.22  o  "^ 

-o.s'i 

opu  5 

13 
o 

1 

| 

3 

O 

| 

o3  M  ~o 

•§^2 

X         en 

%      .    CD 

1 

1 

CJ 

CJ 

en 

CJ 

1 

CJ 

CJ 

en 

CJ 

oi 

erf  ""^ 

•  P-l        ^        ^ 

*i—  j 

**""! 

CJ 

|* 

3*3  ^ 

Pu 

1 

1 

3 

X5 
3 
PH 

O 

> 

>i 

CD 

CD 

OJ 

e- 

b 

03 

X 

2 

en       c— 

o 

~*"^ 

3 

13     j§ 
6s*  8 

f  . 

"o3   « 

bC 

3 

CD 

8 

3 

5  o  ^ 

g 

13   CD 

O 

"cQ 

0 

i-22  *+-  < 

CW 

CJ 

rC  4^ 

|* 

CD 

en 

t<~\ 

g  3  O 

1 

-i-J 

o 

&5 

lS 

1 

1 

0) 

bfl 

'en  o  ^ 

pE 

c 

T3 
i—  i    CD 

^ 

CD 

£ 

^ 

hH 

CO. 

CO 

en 

CD 
>-• 

4-T 

X 
bfi 

§ 

03  cc 

n 

en"  g 

en 
CD 

fl 

0 

f 

CO 

CO 

en- 
CD 

H 

S 

£ 

6 

• 

f^« 

c 

e 

CD 

o 

>> 

a 

•^e- 

2 

en 

.' 

i^ 

J'S 

en 

0 

4j     M 

* 

oJ 

• 

§    > 

3 

'S, 

o  o 

|l 

|S 

c 

c  o 

w   °^ 

^^ 

c3   O 

6 

O 

Q^     ^ 

CD 

S 

•     *Z 

Jz; 

>H    M 

>H 

•2 

o 

; 

-4-> 

CO 

CJ 

C 

CO 

j-l 

Wyoming  . 
New  Mexi 

1 

Nevada.  . 

O 
03 

Washingto 

1 

0) 

0 

California  . 

58 


£ 

1  *  § 

o|  S.§  S-| 

CD 

1 

% 

B*2 

>»    bC   ^rj-J     j3     GS 

05 
m 

w 

.is 

"o  ^-2^  3  o 

3 

£3   .^H      Q) 

p 

2i 

a 

IIJ 

>.  ^  2  ^  *>  ^ 

^  3 

P 

M  QUESTIONNAIRE  SENT  TO  STATE  SUPERINTE 

Do  you  see  a  way  in  which  our  musical  educatio; 
may  be  strengthened? 

Vermont  has  the  union  system  of  supervision.  Each 
several  townships.  By  1912  law,  the  school  boards  of  a  i 
employ  an  instructor  in  music  for  all  the  schools  of  1 
Two  such  teachers  were  hired  the  past  year. 

'.     3 
o 

o 
in 

o 

:    3 

;     A 

:    3 

:    | 

:     S 

a; 

Music  does  not  need  strengthening.  It  has  a  very  livel 
constituents,  most  of  whom  have  no  perspective.  Th 
music  as  quite  as  important  as  the  three  R's,  or  cha 
agriculture.  They  are  not  self  repressive,  and  are  never 
reflective  ability.  The  result  is  that  the  subject  is  gh 
emphasis,  and  in  all  cases  ought  to  be  kept  within  : 
bounds. 

*-,  In 

n 

0  to 

-M  y 
'Sl 
?| 

li 

09 

^O  4J 
S3 

Music  should  be  taught  with  more  emphasis,  but  the  ti 
been  to  get  satisfactory  teachers. 

O 

.22 

tf 

% 

5 

o 

r*H 

oj 

*55 

Q 

3  in. 

W 

T3 

Sg 

d 

tf 

$  tgc*, 

5 

a 

W    • 

•§*g> 

^0  J 

.S   0 

1 

5 

O  JH 

o 

*^d 

^ 

•  r^  'T^ 

a 

0 

'"•2  M 

§    £ 

1 

CO 

2  "«*  ^^^ 

*£H 

g 

£ 

S   £ 

cd   Q^ 

o 

02  '^ 

S     fc_ 

Q 

i—  i 

HH    g 

S'| 

«4-H 

£H 

S 

cr 

c/r 

HH 

cS 

O   OJ 

;      o 

o 

S 

Q 

O 

8      : 

0 

•2 

• 

O 

o 

I   ; 

•2      ^ 

c$ 

O 

1 

'•« 

1      § 

| 

^ 

1 

CO 

CO 

1  § 

1     ^ 
ci        <1> 

1 

O 

1 

3 

1 

CQ            Q 

Q 

c 

^ 

g 

« 

^     flj 
fe    > 

a  & 

O 

0 

0) 

<D 

PH 

59 


a 

•—  i               O  -*-* 

3 

-*—  *  c 

i 

•s   i! 

§ 

«i  •§: 

d 

.2 

s 

|.|       X  § 

^W 

ts 

^ 

O  *3       'r<  a) 

S 

°   S              ^ 

3 

CD 

i 

1-    11 

g 

'cS 

J2~ 

W     "^                              ^_Q 

f 

8 

'53  c— 

§ 

'o 

§^          TO3^ 

'S 

o 

g   C         >5   n     . 

-4-3 

a  g 

«  . 

1 

*•<   O         3  '^^-J 

5 

1^, 

.2 

-»J 

§ 

bo 

^!  ill 

1*      o^g- 

3 
I 

11 

'53 

2 

ft 

^      g  §  ^ 

CU'~          TO'H,0 

2 
a> 

*{ 

1 

*3 

a* 

£ 

3 
O 

^3       «  a,  C 
2  g       ^J3.2 

Ma>      13^  a; 

1 

0) 

BH 

§  1 

1 

"s 

0 

^•^      a3"S  2 

TO 

5 

^OJ 

HH 

bfl       &        O 

>> 

O> 

o 

TO 

^ 

fl     C             M  -4J1   W 

•^ 

4) 

O 

"EijD        ^*  .22   fl) 

•f-^ 

3 

o 

"§ 

-4-J 

bC 

^ 

^g)  ^3^ 

03 

o 

1 

O 

3d)       "^  S 

^M 

O 

o 

'53 

-2    CC          -2*    M    (u 

'o 

Q 

43 

0   « 

TO 

'^ 

1 

"*   ^             «     >5   ^ 
CJ    O?         -^  -2    X 

o 

1 

a» 

0 

r*  *r~^ 

o 

.J3    OJ          TO    CX  a) 

C 

• 

m 

TO 

•H 

w's 

J5 

^ 

K 

jg'3      ^  CD  o 

t—  i 

1 

•             ; 

cr  £  § 

TO 
(1) 

£ 

'I  §  o 

00 

i 

IjT 

§ 
$_ 

HH     g 

o 

1 

o       o 

o      6 

O 

0 

0              0 

O 

8 

£H        £ 

Z 

^      ^ 

g 

e 

;|      :      : 

Q      :     w 

1       ^ 

09 

.g     :   3 

8        «        &? 

s  1  > 

^     1    -^ 

«••§;* 

i        1 

2  -a  1 

•g    *c    ° 
£     -2     ^ 

Z           P=H             S 

Kentucky.  . 

Tennessee.  . 

«      § 

g                TO 

c3         '53 

«     'I 

<                 H-l 

1 

Oklahoma.  . 

O 

O 

DQ 

60 


C/2 
H 

I 

2 

I 

3 

H 

OH 
£ 
CQ 

W 


w 

CQ 

w 

£ 
5 

jz; 

1 

H 

i 

o> 
o 


§  5 


-t->  £H 

?!      o 


|       g, 

•a  I 
§  a 


If  if  jl 


irfrfl!}!!! 


flea  fl 


2      M- 


o      o 

fc    jz; 


-|j   O   O) 

o      o  ox 


OQ 


g       3     2      •     I 

'-5        .a     .2     I     .1 
£        S    S     5    S 


61 


3£ 

£S 

J-,   0> 

§a 

rfi      fi 

u  o> 

'rfi    -M 
|« 

.a  ^ 

!! 


1 

O 

p 


§ 
'•§ 

N 

I. 
=  £ 

Ss 


II 


c-~ 
«v 

II 


g 
t 


la 
is 


WJ  •— 1  f-i 

*-H      03  «rH 


hough 


Music  is  the 
stimulating. 
The  state 
which  we  sh 


bO  4J 

fi  o 

*d  C 


M  HH          S 


each 
step 
Prop 
musi 
then 
the 
of  p 


t 
t 


S    fe^' 

•3  a  be 


s§ 

ilS'fi 
I 


03    05 


O 


62 


£ 
fc 

O 

I 

p 

o* 


<< 
o 

m 

I 

t-H 

H 
S 

O 

O 

o 
o 

o 

02 

O 


111 


~l 


3 


o  £>> 
"o'^'l 

'o^   O 


G  0) 


> 

'So 


«      »     |So 

jiiji 

*«    S    B'l  S 

"5       ^      bc^  4J 
*S      5      73  "S  _, 

s  ^    "J0§ 

O        be       >>"d  43 


bfl 

§ 

•— 

I    £ 


bfi    . 
Oi 

s 


63 


DISTRIBUTION  AND  NUMBER  OF  SUPERVISORS. 


Women 

Men 

Total 

Combinations  with  music 

Draw- 
ing 

Dom. 

Science 

Manual 
Training 

Writing 

North  Atlantic  Division 
Maine                       .... 

26 
16 
8 
69 
2 
17 
99 
17 
51 

0 
3 
1 
3 
19 
10 
6 
28 
3 

13 
7 
17 
12 
8 
33 
4 
11 

24 
45 
65 
79 
38 
42 
55 
27 
10 
16 
74 
22 

3 

8 
0 
45 
3 
13 
12 
10 
28 

0 
1 
0 
1 
1 
0 

1 

4 
0 

5 
2 
1 

0 
0 
0 
4 
0 

37 

12 
8 
3 
2 
4 
5 
1 
0 
1 
10 
I         2 

29 
24 
8 
114 
5 
30 
111 
27 
79 

0 

4 
1 
4 
20 
10 
7 
32 
3 

18 
9 
18 
12 
8 
33 
8 
11 

61 
57 
73 

82 
40 
46 
60 

28 
10 
17 
84 
24 

2 
2 

' 

New  Hampshire  
Vermont  .... 

Massachusetts  
Rhode  Island  
Connecticut  
New  York  
New  Jersey  
Pennsylvania 

4 

"l" 
30 

•y 

1 

1 

1 

1 

South  Atlantic  Division 
Delaware 

Maryland 

1 

District  of  Columbia  .  .  . 
Virginia  
West  Virginia  
North  Carolina  
South  Carolina  
Georgia  
Florida  . 

"2" 

i'  ' 
...... 



1 

South  Central  Division 
Kentucky 

Tennessee  
Alabama 

i 

Mississippi  
Louisiana  
Texas 

4 
2 
1 

1 

•  y  • 

2 
32 
11 
8 
11 
3 
5 
2 
6 
4 

Arkansas 

Oklahoma  

North  Central  Division 
Ohio  
Indiana  
Illinois  
Michigan  
Wisconsin  

'  '2'  ' 

1 

1 
1 

"l" 



Minnesota  

Iowa  
Missouri  
North  Dakota  
South  Dakota  
Nebraska  
Kansas  .  . 

"2" 
1 

•«i  

"i" 

64 


DISTRIBUTION  AND  NUMBER  OF  SUPERVISORS.— (Cont'd) 


.     - 

Women 

Men 

Total 

Combinations  with  music 

Draw- 
ing 

Dom. 
Science 

Manual 
Training 

Writing 

Western  Division 
Montana 

9 
4 
17 
6 
8 
2 
1 
6 
17 
9 
30 

0 
1 
5 
0 
0 
11 
0 
2 
1 
1 
6 

9 
5 

22 
6 

8 
13 
1 
8 
18 
10 
36 

4 

Wyoming 

Colorado 

4 
4 
1 

New  Mexico  
Arizona  
Utah  
Nevada  
Idaho  
Washington*  
Oregon  
California!  

i 

1 



* 

r  ' 
i 

7 

2 

Total  

1,089 

254 

1,343 

173 

7 

7 

6 

*Art,  1.     fSewing,  1. 

SUMMARY  OF  REPORT  UPON  SUPERVISORS. 

The  total  number  in  the  United  States  equals  1,343,  perhaps 
slightly  more,  since  the  report  of  1914  would  not  include  places 
where  supervisors  were  hired  for  the  first  time  this  fall.  It  will 
be  noticed  that  about  20%  are  men,  showing  that  the  field  is 
becoming  sufficiently  lucrative  to  make  it  a  life  position.  The 
Connecticut  report,  page  9  of  thesis^  shows  twenty-three  super- 
visors receiving  from  $1000  to  $3,100.  The  above  report  shows 
that  the  same  state  employs  practically  half  men  teachers  in 
this  study. 

The  number  of  teachers  for  the  different  sections  is  as  follows : 

North  Atlantic  Division 427 

South  Atlantic  Division 81 

South  Central  Division 117 

North  Central  Division 582 

Western  Division  .  .  136 


DISTRIBUTION  AND  NUMBER  OF  SUPERVISORS. 

The  North  Central  Division  has  a  much  larger  number  than 
other  localities,  the  North  Atlantic  Division  ranking  second,  the 
South  Atlantic  Division  having  the  least  number.  The  older 
states  follow  the  practice  of  placing  one  supervisor  over  several 
schools,  as  has  been  shown  before,  hence  a  smaller  number 
results. 


65 

Massachusetts,  Pennsylvania  and  Ohio  each  show  over  half 
of  the  teachers  to  be  men,  Utah  almost  exclusively  men,  the 
latter  two  states  being  the  only  states  in  which  women  are  a 
minority. 

A  feature  worth  noting  is  that  173  schools  combine  the  music 
and  drawing  teacher  in  one,  making  a  larger  salary  possible. 
The  North  Central  Division  leads  again  in  having  ninety-one 
such  combinations,  which  explains  why  it  affords  to  hire  so 
large  a  number.  In  this,  Michigan  leads,  since  thirty-two, 
practically  half  of  her  supervisors,  teach  the  double  subject. 
The  same  division  has  six  combinations  of  music  and  domestic 
science,  only  one  other  such  combination  occurring,  and  this  in 
Arizona.  Seven  combinations  are  made  with  manual  training, 
approximately  half  of  which  are  in  the  Rocky  Mountain  states. 
Six  combinations  are  made  with  writing,  again  half  being  in  the 
North  Central  Division.  One  combination  with  sewing  is  found 
in  the  same  division,  and  one  with  art  in  Washington. 

It  will  be  seen  that,  while  the  North  Atlantic,  the  North 
Central  and  the  Western  divisions  are  all  combining  strongly 
with  drawing,  the  North  Central  Division  is  pushing  this  idea 
of  combination  into  three  other  lines.  The  large  number  shows 
that  these  states  have  been  successful  in  this  solution  of  the 
problem. 

As  will  be  shown  later,  a  number  of  the  normals  are  advocating 
the  study  of  drawing  with  music,  and  are  putting  it  on  the  curri- 
culum with  that  end  in  view.  Combinations  with  heavier  subjects 
will  tend  to  increase  the  salaries  still  more.  This  latter  idea  is 
being  carried  out  in  some  of  the  normal  teaching  faculties,  as 
will  be  noticed  in  the  discussion  of  normals  in  Part  II. 

In  the  number  of  supervisors,  Massachusetts  ranks  first  with 
114,  New  York  second  with  111,  and  Nebraska  is  third  with  84, 
several  others  approximating  that  number. 


SUMMARY. 

As  much  as  possible  all  through  this  section  of  the  thesis,  the 
report  was  made  out  with  the  purpose  of  collecting  all  the  in- 
formation available  upon  rural  sections  and  conditions,  since  no 
such  attempts  have  been  made  heretofore,  and  is  only  possible 
by  close  inspection  of  school  reports.  The  writer  has  had  occasion 
to  notice  that  state  officials  do  not  always  know  the  real  con- 
ditions. 

Of  the  North  Atlantic  Division,  Maine  and  New  Hampshire 
exhibit  the  least  activity  in  the  study  of  school  music.  In  con- 
trast, Massachusetts,  Rhode  Island  and  Connecticut  present 
serious  work  and  encouraging  signs,  with  New  York  undoubtedly 
leading  in  progress! veness.  New  Jersey  offers  a  strong  township 


66 

idea,  and  cooperation  between  the  supervisors,  while  Pennsyl- 
vania shows  the  same  activity  as  her  sister  states. 

The  best  of  the  teaching  centers  naturally  in  the  cities,  and 
the  states  having  the  largest  number  of  such  centers  inevitably 
present  work  of  a  better  quality. 

In  many  parts  of  this  division  of  states,  there  is  no  rural 
problem,  hence  information  is  more  readily  obtained. 

Passing  to  the  South  Atlantic  Division,  both  Delaware  and 
Maryland  show  conditions  not  favorable  for  art  growth.  Low 
funds  make  poor  teaching  the  rule,  while  probably  what  is  given 
centers  in  a  few  towns.  Virginia  shows  a  late  growth  of  activity 
in  normals,  with  a  radiation  out  into  remoter  districts,  yet  the 
activity  is  educational  in  tendency.  West  Virginia  indicates 
also  late  development  in  this  line,  with  approximately  half  the 
schools  offering  instruction. 

North  Carolina  exhibits  the  same  mushroom  growth  as  the 
preceding  states.  One  reference  is  made  where  Latin  was  dropped 
to  make  room  for  music,  a  proceeding  not  heard  of  ten  or  even 
five  years  ago. 

South  Carolina  tends  to  more  practical  subjects.  Here  the 
race  problem  enters  and  finances  hinder.  Georgia  shows  awaken- 
ing interest  of  recent  growth,  as  exhibited  in  college  courses  and 
in  contests,  but  without  a  fusion  into  the  school  system.  Florida 
recognizes  music  in  an  elementary  form,  and  has  made  attempts 
to  better  her  conditions,  but  popular  sentiment  is  not  yet  ripe 
for  radical  changes. 

The  South  Central  Division  offers  conditions  equally  favor- 
able to  the  South  Atlantic  states. 

Kentucky  presents  the  work  on  a  strictly  educational  basis, 
with  attempted  uniformity  in  the  course  of  study.  Eighteen 
supervisors  have  been  given  employment.  Tennessee  also  makes 
music  prominent  as  a  study.  By  contrast,  Alabama  has  little 
finances  and  the  race  problem  to  contend  with,  hence  no  vital 
effort  is  being  made  to  raise  the  standard,  other  than  normal 
school  recognition. 

Mississippi  offers  little  promise  in  educational  standards,  and 
still  less  in  art  lines.  Here  again  a  race  problem  enters,  as  the 
state  is  over  half  negro  population.  Louisiana  presents  the 
work  in  the  grades  generally,  optional  in  the  high  school,  since 
finances  hinder  such  training. 

In  Texas,  a  sparse  population,  large  area,  and  fewer  large 
towns,  tend  to  make  conditions  less  favorable,  while  information 
is  hard  to  obtain. 

Arkansas  has  attempted  state  supervision  and  a  uniform 
course  of  study,  both  tending  toward  standardization.  Okla- 
homa possesses  extremely  fortunate  conditions  in  splendid 
finances,  an  intelligent  class  of  people,  and  progressive  school 
officers.  Unless  retarded  in  some  way,  it  gives  good  promise. 


67 

The  North  Central  Division  presents  growth  which  is  almost 
dramatic  in  its  intensity.  Ohio  completely  reorganized  in  1913, 
with  forty  counties  well  outlined,  and  with  expectation  of  building 
toward  a  national  head,  thus  constructing  a  complete  machine. 

Indiana  presents  an  equally  serious  phase,  with  the  same 
tendency  toward  concerted  action,  while  Illinois  has  busied  her- 
self for  several  years  in  an  effort  to  cooperate  with  high  school 
supervisors.  She  has  also  emphasized  such  instruction  in  in- 
stitutes. Michigan  has  been  actively  engaged  in  an  attempt  to 
standardize  school  music,  and  presents  a  good  grade  of  work. 

Wisconsin  stands  peculiarly  alone  as  the  advocate  of  com- 
munity music,  radiating  from  a  university  center. 

The  work  of  Minnesota  is  promising,  interesting  and  com- 
mands much  state  attention.  Iowa  shows  a  splendid  status  in  an 
educational  way,  music  being  in  practically  all  schools.  Missouri 
has  concerted  action,  state  notice  and  lenient  measures  to  raise 
the  standard  of  teachers,  and  the  normals  are  unusually  active. 

North  Dakota  is  not  up  to  the  standards  of  the  states  of  this 
group  just  mentioned.  South  Dakota  shows  good  activity,  a 
basis  for  state  supervision,  and  well  supported  courses  in  smaller 
colleges. 

•  Nebraska  offers  a  standard  considerably  below  that  of  any 
state  in  this  division,  unless  it  is  North  Dakota.  Kansas  presents 
the  subject  generally  in  the  grades,  but  optional  in  the  high 
schools.  Conditions  are  good  and  of  a  serious  nature. 

In  the  Western  Division,  activity  is  likewise  very  marked. 
Montana  has  a  new  and  rapid  growth,  with  an  attempt  to  prepare 
fitted  teachers.  Wyoming  is  less  favorable  and  probably  offers 
little  without  the  towns  situated  along  the  railroad.  Colorado 
recognizes  the  study  in  an  educational  way,  but  not  characterized 
by  the  intensity  shown  in  the  Central  states. 

New  Mexico  has  placed  music  quite  generally  in  the  grades 
and  high  schools.  Arizona  has  favorable  laws  and  encourages 
the  study  in  every  possible  way.  Utah  likewise  offers  music 
educationally  and  favors  it  very  materially.  Nevada  has  the 
study  in  both  grades  and  high  school,  while  Idaho  has  out- 
stripped her  educational  status,  in  outlining  the  work  for  music 
in  her  schools.  The  activity  is  surprising,  with  excellent  chances 
for  working  put  a  good  standard. 

The  Pacific  states  all  present  the  feverish  activity  which 
characterizes  most  of  the  North  Central  states.  Progressive 
school  officers,  and  educational  leaders  who  favor  broad  culture, 
have  pushed  the  subject  to  the  front  very  rapidly. 

California  probably  leads  any  state  in  the  union,  in  her 
uniform  and  deliberately  planned  systematic  presentation  of  the 
subject.  Supported  by  an  advanced  school  system,  music  study 
has  very  fertile  soil  in  California,  besides  abundant  resources. 

Of  the  three  states,  Oregon  probably  has  the  least  activity. 


68 

Yet  most  of  her  first  and  second  class  high  schools  teach  music, 
and  credit  outside  study.  The  spirit  of  cooperation  is  very  active 
in  this  state,  and  shows  evidence  of  causing  an  educational 
ferment  equal  to  that  in  the  North  Central  states. 

Unfortunately,  space  forbids  the  interpolation,  at  this  point, 
of  the  status  as  determined  in  1907,  but  brief  reference  will  show 
that  conditions  as  they  exist  now,  are  a  remarkable  growth  and 
unexpected.  At  that  date,  the  bulk  of  the  musical  training  as 
an  educational  factor,  was  contained  in  the  North  Atlantic 
Division.  The  southern  groups  were  very  generally,  supremely 
indifferent,  both  in  reports  (as  none  were  made),  and  in  corre- 
spondence with  state  superintendents,  since  few  replied  from  the 
southern  states  in  1907. 

The  greatest  change  has  been  wrought  in  the  central  and 
mountain  groups,  where  the  activity  is  intense. 

Present  correspondence  was  practically  complete  from  all 
states,  and  showed  great  interest,  emphatic  approval  of  the 
subject  as  a  school  study,  and  a  strong  desire  to  learn  the  results 
of  this  investigation.  Only  one  letter  of  adverse  comment  was 
received,  and  from  a  New  England  state. 

Extended  correspondence  with  several  prominent  educators 
of  the  west  failed  to  give  absolutely  satisfactory  reasons  for  the 
activity  of  that  region.  After  a  careful  study  of  the  entire  field, 
and  with  such  information  as  was  obtainable  from  generous 
correspondence,  these  seem  the  most  logical  conclusions,  as  the 
problem  has  presented  itself. 

A  new  system,  and  the  remnants  of  pioneer  stock  lend  them- 
selves most  readily  to  change  and  rapid  reform.  Moreover,  the 
picturesque  scenery,  and  wild  beauty  of  many  of  the  western 
states  foster  a  poetic,  dreamy  element,  which  is  hard  to  preserve 
in  the  crowded  thoroughfares,  intense  industrial  pressure,  and 
artificial  modes  of  life  in  densely  populated  states.  There  are 
fewer  cheap  attractions  to  distract  the  attention,  while  new 
conditions  enforce  greater  activity  in  the  usual  routine  life.  The 
western  problem  is  largely  rural;  the  eastern,  one  of  the  more 
densely  populated  cities.  It  is  not  impossible  that  each  section 
will  work  out  a  system  upon  a  different  basis,  since  the  needs  are 
widely  different.  There  can  be  little  doubt  but  that  the  North 
Central  and  Western  divisions  are  working  out  the  problem 
much  faster  than  the  older  eastern  states,  which  seem,  in  com- 
parison, to  have  fallen  behind.  Resources  are  not  lacking,  and 
are  easily  obtainable  for  educational  purposes  in  the  west. 

The  independent  western  constitution,  full  of  vigor  and 
energy,  which  must  necessarily  work  itself  off  in  some  way,  finds 
its  most  ready  expression  in  forms  of  art,  as  rugged  as  the  people 
themselves.  The  lack  of  many  great  symphony  orchestras,  or 
any  chance  to  indulge  a  natural  craving  for  good  music,  in- 
evitably leads  to  the  production  of  some  form  to  supply  the 


69 

deficiency.  It  is  this  element,  a  longing  which  must  find  its 
outlet,  which  is  one  fundamental  cause  for  much  of  the  evident 
activity. 

Not  less  surprising  is  the  advance  in  the  south,  yet  industrial 
conditions  are  not  so  favorable  as  in  the  west  and  central  west, 
where  they  seem  ideal. 

Even  the  absence  of  orchestras  and  May  festivals  upon  the 
frontier,  are  being  offset  by  the  advent  of  music  upon  the  uni- 
versity curriculum,  and  the  possibility  of  available  funds  for 
bringing  in  more  artists  from  the  east,  and  of  increasing  the 
number  of  touring  artists. 

For  additional  information  in  regard  to  city  activity,  the 
reader  is  referred  to  the  pamphlet  " Music  in  the  Public  Schools", 
by  Earhart,  gotten  out  by  the  government  printing  office  last 
year.  However,  the  report  of  the  public  schools  and  high  schools 
is  the  least  satisfactory  of  the  article,  since  the  study  was  made 
on  a  basis  of  only  six  hundred  eighty-one  towns,  and  there  is  no 
clue  to  locality  or  distribution  of  such  activity.  A  town  census 
has  the  added  drawback,  that  it  represents  only  the  cream  of 
all  state  systems,  while  a  true  survey  must  take  into  account 
the  rural  phase.  In  the  west,  this  element  is  a  more  important 
feature,  for,  in  many  states,  the  population  is  three-fourths  rural. 

Owing  to  the  fact  that  stress  was  laid  upon  city  conditions, 
in  the  government  report,  the  writer  has  avoided  going  over  the 
same  grounds,  except  where  clearness  made  it  necessary. 

The  summary  of  this  phase  of  the  study  will  be  more  illum- 
inating after  the  discussion  under  psychological  research,  since 
that  section  contains  some  of  the  fundamental  causes  of  activity, 
which  could  not  be  introduced  prematurely  in  a  discussion  of  the 
subject. 


PART  II 

i 

DIVISION  I 

NORMALS 


73 


CHAPTER  1. 
NORTH  ATLANTIC  DIVISION. 

Maine  is  partly  a  rural  state,  48.6%  living  in  the  country. 

Over  half  of  the  schools  are  ungraded. 

MAINE  The  state  supports  five  normals  located  at  Farming- 
ham,  Castine,  Gorham,  Presque  Isle  and  Machias. 
Provision  is  made  also  for  four  summer  normals.  The  Mada- 
waska  Training  School  at  Fort  Kent,  in  the  extreme  northern 
part  of  the  state,  is  maintained  for  the  purpose  of  training  teachers 
for  northern  Maine. 

There  are  five  hundred  fifty-two  teachers  in  the  free  high 
schools,  and  two  hundred  nineteen  in  accredited  schools.  (87.) 

The  last  school  report  of  Maine  shows  no  interest  in  the  sub- 
ject of  school  music.  In  1911,  the  Eastern  State  Normal  School 
had  such  a  department  with  but  five  enrolled.  The  state  summer 
school  at  Fort  Kent  also  had  a  music  course.  (1.  x  1912:19,21. 
1915.) 

Otherwise  than  these  mentions,  there  is  scant  information 
concerning  the  subject. 

There  are  no  statutory  school  studies  in  New  Hampshire, 
except  temperance,  physiology  and  hygiene, 
NEW  HAMPSHIRE    humane   education,   and   the  constitution  of 
the  -United  States  and  of  New  Hampshire. 

The  state  supports  normals  at  Plymouth  and  Keene.  There 
are  also  four  city  normals  at  Concord,  Manchester,  Nashua  and 
Portsmouth. 

The  state  has  seventy-two  public  high  schools.    (87.) 

The  interest  in  music  is  also  very  local  in  this  state,  the 
school  reports  making  scant  mention. 

The  following  remark,  taken  from  a  paper  read  before  the 
Music  Teachers'  National  Association,  is  worthy  of  note:  "It 
has  been  suggested  in  New  Hampshire,  that  no  one  be  admitted 
to  a  normal  in  1912,  who  is  unable  to  sing  several  standard 
national  songs  from  memory,  and  by  1914,  the  requirement 
should  be  two  years  of  music,  voice  and  some  theoretical  work/' 
(3.  1911-12:475.  1910:164.) 

This  shows  the  tendency  to  normal  recognition,  at  least. 

Vermont    emphasizes    public    school    music    in    the    normal 

courses.     There  are  no  conservatories  in  connection 

VERMONT     with  these  schools,  nor  is  any  examination  in  music 

required.     The  state  owns  one  normal   and   leases 

another.    These  are  attended  by  about  one-eighth  of  the  teachers 

in  the  state,  so  that  practically  that  proportion  would  be  in  a 


74 

position  to  receive  whatever  musical  instruction  is  offered  by 
the  normals,  in  the  way  of  training  teachers.     (87.) 

Music  is  a  feature  of  the  normals  of  Massachusetts,  and  each 
school  is  authorized  to  employ  a  teacher  of 

MASSACHUSETTS      music. 

Principal  Durgin,  who  said  it  was  incumbent 
upon  normal  schools  to  make  such  training  as  effective  as  pos- 
sible, suggested  the  following  course  for  grade  teachers: 

a.  To  read  and  write  the  language  of  music. 

6.  To  hear  tones  and  feel  rhythm,  on  seeing  the  presentation. 

c.  To  express  thought  with  the  singing  voice. 

d.  To  recognize  and  write  simple  melodic  phrases. 

e.  Skill  to  present  the  subject  matter  of  music  clearly  and  logically. 

/.     Sufficient  skill  and  sensitiveness  to  tonal  conditions,  to  secure  and 

retain  the  naturally  beautiful  "tones  of  the  child's  voice. 
Beyond  this  point  a  supervisor's  direction  is  indispensible.    (5.   1911-12:39.) 

Seven-eighths  of  the  students  enter  Framingham  normal 
without  examination  in  music.  At  Salem,  three-fourths  enter 
thus.  If  examined  in  music,  however,  and  fail,  they  are  con- 
ditioned. Most  of  the  music  which  has  been  taught  in  these  two 
normals  is  chorus  work. 

Classes  in  these  normals  number  from  twenty-five  to  thirty 
pupils,  with  one  class  a  week,  and  devoted  to  scales,  keys,  inter- 
vals, time,  voice  culture,  sight  reading,  ear  training  in  major  and 
minor  seconds,  and  simple  harmony.  A  good  public  school  music 
course  covers  this  in  one  year. 

The  second  year's  work  in  these  same  two  normals,  is  the 
application  of  the  first  year's  principles  in  the  grades.  Rote 
songs  and  their  relation  to  school  music  is  the  first  work,  with 
quality  of  tone.  Pupils  are  required  to  prepare  and  give  lessons. 
This  second  year  does  not  pass  beyond  the  fifth  or  sixth  grade. 

Original  compositions  of  four  to  eight  measure  phrases  are 
composed. 

One  period  a  week  is  given  to  the  study  of  general  assembly 
work.  (475.  1910:168.) 

Special  efforts  are  being  made  by  the  Lowell  State  Normal 
for  training  supervisors,  since  the  supply  coming  from  private 
agencies  has  failed  on  account  of  scant  pedagogical  training. 
(5.  1912-13:43.) 

Altogether,  the  state  has  ten  normals  which  are  located  at 
Bridgewater,  Fitchburg,  Framingham,  Hyannis,  Lowell,  North 
Adams,  Salem,  Westfield,  Worcester  and  Art  School,  with  a  music 
specialist  in  each.  (7.  1914:4.) 

Rhode  Island  employs  2,300  teachers,  60%  of  whom  are 
normal  graduates.  Approximately  one- third  of 
RHODE  ISLAND  all  the  teachers  are  in  Providence.  Only  3.3% 
of  the  population  is  rural. 

Since  60%  attend  normals,  thirteen  hundred  and  eighty  of 


75 

the  state  teaching  force  are  placed  in  a  position  to  avail  them- 
selves of  courses  in  public  school  music.     (87.) 

The  subject  is  taught  and  compulsory  in  Connecticut.     The 
normal  course  is  forty  weeks  in  length  in  the 
CONNECTICUT    musical  instruction. 

No  examination  in  this  study  is  necessary  for 
a  certificate.     (379.) 

The  state  normals,  four  in  number,  are  located  at  Danbury, 
New  Britain,  New  Haven  and  Willimantic.  Bridgeport  has  a 
city  normal.  Forty-five  per  cent  of  the  teachers  attend  these 
normals,  and  secure  compulsory  musical  training.  (87.) 

New  York  requires  one  hundred  twenty  periods  of  music  in 
each   normal.     Public  school   music   is  the  phase 
NEW  YORK    emphasized.      Potsdam    has    a    special    two    year 
course  covering  training  for  teachers.     (380.) 

New  York  has  4,576  teachers,  and  of  this  number,  60%  are 
in  the  cities.  Two-thirds  of  the  state's  population  is  in  cities 
where  the  school  system  is  well  developed. 

The  state  supports  ten  normals,  the  Albany  Normal  College 
and  extends  aid  to  ninety-five  high  schools  and  academies,  and 
fifteen  cities  for  offering  teachers'  training  courses. 

The  requirements  in  music  are,  for  the  most  part,  shaped  by 
the  course  prescribed  by  the  regents,  which  was  given  on  page  10 
of  thesis.  (87.) 

Three-fourths  of  the  population  of  New  Jersey  live  in  cities. 
The  school  system  is  well  developed,  being  one  of 
NEW  JERSEY    the   better   centralized   state   systems,   with   the 
county  an  important  unit. 

There  are  two  state  normals,  one  at  Trenton  and  one  at 
Montclair,  with  city  normals  at  Elizabeth,  Jersey  City,  Newark 
and  Paterson.  (87.) 

The  state  normal  at  Trenton  has  excellent  courses  covering 
applied  branches,  and  offering  advanced  courses  beyond  the 
requirements  for  the  state  certificate  to  teach  music.  The 
courses  approximate  a  good  standard  conservatory  curriculum. 
(12.  1911:48.) 

The  laws  of   Pennsylvania  require  fifty  forty-five  minute 
periods  in  vocal  music,  in  the  first  year  in  the 
PENNSYLVANIA    normals,  of  which  there  are  thirteen  supported 
by  the  state.    Three  cities,  Philadelphia,  Pitts- 
burg  and  Reading  maintain  city  normals.     (87.) 

As  early  as  1899,  Keystone  State  Normal  had  music  in  the 
course,  mostly  chorus,  yet  from  an  educational  point  of  view. 
(91.)  ' 

The  Bloomsburg  Normal  gives  as  thorough  a  course  as  a  con- 
servatory, in  the  1910  report.  Applied  courses  leading  to  diplomas 
with  full  theoretical  work  are  outlined.  Public  school  music  is  a 
prominent  feature.  (93.) 


76 

The  Indiana  Normal  School  of  Pennsylvania  had  voice  culture 
in  1897,  to  develop  "power,  flexibility,  resonance  and  purity  of 
tone,"  with  the  idea  of  making  "  movements  natural,  easy  and 
graceful."  (92.) 

The  Pennsylvania  State  College  had  this  enrollment  in  four 
years: 

Year  1910         1911         1912         1913 

Enrollment 0  8  59  46 

(13.     1913:358.) 

In  1911,  Kutztown  Normal  secured  the  assistance  of  a  fine 
vocalist  (13.  1911:295.),  and  in  the  same  year  Eleventh  District 
Normal  secured  a  graduate  of  the  Royal  Conservatory  of  London 
to  teach  instrumental  music.  (91.) 


CHAPTER  II. 

SOUTH  ATLANTIC  DIVISION. 

Delaware  has  no  normal  schools,  but  allows  a  sum  for  those 

who  wish  to  study  in  some  normal  elsewhere.    The 

DELAWARE    extremely  low  salaries,  $25  or  often  less  in  the  rural 

schools,  do  not  encourage  special  studies  of  any  kind. 

Only  elementary  branches  are  taught  to  any  extent,  in  most  of 

the  schools. 

Since  less  than  1%  teach  music  as  a  study,  one  is  justified  in 
saying  that  music  is  not  recognized  in  the  schools.     (87.    382.) 
Maryland  has  three  state  normals,  and  the  normal  depart- 
ment of  Washington  College.    Of  these,  the  Mary- 
MARYLAND    land   State   Normal   School   at   Baltimore   has  an 
instructor  in  music.     The  Maryland  Normal  and 
Industrial  Institute  for  negroes,  has  music  in  the  curriculum  for 
the  first  three  years.    The  other  two  normals  make  no  provision 
for  teaching  music  to  teachers.     (15.    1911:137,144,427.) 

Virginia  supports  seven  normals,  and  although  little  informa- 
tion was  obtainable  concerning  the  extent  of  their 
VIRGINIA    musical  training,  the  state  recognizes  the  subject  in  a 
surprising  number  of  summer  normals.    The  following 
table  shows  the  number  registered  in  these  summer  courses  for 
three  consecutive  years. 

SCHOOL  MUSIC  ENROLLMENT 

1910  1911     1912  1910     1911     1912 

Petersburg 18        Covington 12        76          30 

Winchester 25        Chase  City 15        37          40 

Seaside 50  ...         22       Farmville 90 

Martinsville 90  139       168       Big  Stone  Cap 24 

Galax 20  111       ...  Univ.  of  Virginia ..   55         ..         115 

Emory 89  29         31       Lynchburg 5 

(20.     1910— all  ref.     1911— all  ref.     1912— all  ref.) 


77 

In  1911,  only  two  summer  normals  made  no  provision  for 
music  study  for  teachers.  In  most  cases,  the  increase  from  year 
to  year  was  very  marked. 

Since  77%  of  the  population  is  rural,  this  means  a  large 
diffusion  of  this  special  training  into  the  agricultural  regions.  (87.) 

West  Virginia  supports  six  normals  for  white  students  and 

one  for  negroes.    In  spite  of  advance,  the  state 

WEST  VIRGINIA    is  still  a  little  backward  educationally.     It  is 

essentially  rural  and  relatively  poor,  yet  with 

large  undeveloped  resources.     The  people  are  much  in  earnest 

about  education,  but  poverty  hinders  progress. 

Glenville  State  Normal  had  fifty-one  studying  instrumental 
music  in  1911  to  1912,  while  Shepherds  College  State  Normal  had 
forty  the  same  year.  All  the  normals  teach  music,  each  having 
a  special  music  teacher  who  gives  much  of  her  time  to  music. 
(22.  1911-12 :46,52,54,57,68,76,383.) 

Educational  growth  in  North  Carolina  has  been  retarded 

through  lack  of  funds,  until  lately.    State  aid 

NORTH  CAROLINA    was  not  granted  until  1899,  and  as  yet  is 

small.     The  money  spent  for  education  has 

trebled  in  ten  years. 

One- third  of  the  population  is  negro.  35%  live  in  the  country. 
There  are  no  large  cities  in  the  state. 

In  1910,  there  were  11,216  teachers,  one-fourth  being  colored. 
31%  of  the  white  and  46%  of  the  negro  teachers  had  normal 
training.  The  state  supports  three  normals  for  white,  three  for 
colored  teachers,  and  one  for  Indian  students.  (87.) 

Although  not  compulsory,  music  is  taught  in  the  normals,  so 
that  the  above  per  cent  of  normal  teachers  have  had  the  privilege 
of  preparing  in  the  subject.  (384.) 

There  are  about  six  negroes  to  every  white  person  in  South 

Carolina.    Only  Mississippi  has  a  larger  num- 

SOUTH  CAROLINA    ber.     The  white  race  exceeds  the  negroes  in 

ten  of  the  forty-three  counties.    The  state  is 

rural,  agricultural  and  relatively  poor.    The  school  term  is  about 

one  hundred  days,  three  months  being  required. 

The  state  supports  the  Winthrop  Normal  and  Industrial 
College  at  Little  Rock  for  white  teachers,  and  a  colored  Normal 
Industrial  and  Mechanical  College  at  Orangeburg.  Charleston 
has  the  Memminger  Normal  School  which  is  a  city  normal.  In 
order  to  get  trained  teachers,  the  state  board  approved  the 
courses  in  twenty  institutions  for  white  students,  and  nine  for 
negroes.  There  are  uniform  examination  questions  throughout 
the  state.  (87.) 

The  normal  at  Rock  Hill  has  music  on  its  curriculum  "as  an 
industrial  art,  not  as  an  ornament."  The  aim  is  to  learn  to  teach 
music.  Vocal  training,  vocal  interpretation,  expression  and 
criticism  are  all  taught  with  special  stress  on  public  school 
music.  (97.) 


78 

Georgia  has  45.1%  negroes,  only  Louisiana,  Mississippi  and 
South  Carolina  having  a  larger  per  cent.  In  one-half 
GEORGIA  of  the  counties,  the  negroes  outnumber,  and  in  a 
fourth,  they  outnumber  two  to  one. 

84.4%  live  in  the  country,  only  11%  being  in  cities  of  more 
than  eight  thousand  inhabitants. 

In  illiteracy,  Georgia  stood  sixth  in  1900. 

Outside  the  cities,  there  is  little  equipment  for  educational 
purposes.  The  average  value  of  publicly  owned  school  houses 
during  the  last  year  was  $1,800,  as  near  as  statistics  were  avail- 
able. Much  of  the  money  for  repairs,  etc.,  is  raised  by  private 
subscription. 

The  state  helps  to  support  four  institutions  for  training 
teachers,  one  being  for  negroes,  also  three  private  normals  and 
industrial  institutions,  all  for  negroes.  Wages  are  low.  The 
high  schools  are  better  than  those  in  the  neighboring  states.  (87.) 

In  1900,  43.6%  of  the  population  of  Florida  was  negro.  In 
twelve  counties  they  outnumbered,  in  two  counties 
FLORIDA  they  outnumbered  four  to  one.  17%  of  the  whites 
and  19%  of  the  negroes  were  normal  graduates.  The 
state  supports  the  State  Normal  and  Industrial  School  at  Talla- 
hassee for  negroes,  while  the  University  of  Florida  and  the 
normal  department  of  the  Florida  Female  College  serve  as  normal 
schools  for  white  teachers.  The  state  also  maintains  two  summer 
normals  of  two  months  each  for  white,  and  one  of  six  weeks  for 
black  teachers.  (87.) 

Music  is  taught  in  these  normals,  but  is  not  compulsory. 
The  two  phases  are  emphasized,  public  school  music  and  the  more 
cultural  study  of  voice  and  instruments.  (385.) 


CHAPTER  III. 
SOUTH  CENTRAL  DIVISION. 

Kentucky  has  a  13%  negro  population.  78.2%  live  in  rural 
parts,  so  the  state  is  agricultural.  Schoolhouses 
KENTUCKY  and  repairs  are  still  largely  provided  by  local  sub- 
scription. Up  to  1906,  the  white  teachers  were 
prepared  in  private  institutions.  In  that  year,  the  eastern  and 
western  state  normals  were  established  by  the  legislature.  For 
some  time  the  state  has  supported  the  Kentucky  Normal  and 
Industrial  Institute  for  colored  teachers.  (87.) 

Music  is  taught  in  the  normals,  but  not  compulsory,  and 
there  is  a  conservatory  in  connection.  (31.  1910-11:180.  386.) 

The  school  report  of  1911  lists  a  free  music  course  in  the 
Western  Kentucky  State  Normal.  Sight  singing,  music  structure 


79 

and  methods  are  the  phases  taught.  A  course  is  given  to  prepare 
supervisors,  and  a  certificate  issued  for  the  same.  Lessons  in 
private  applied  music  along  more  professional  lines  are  also 
offered.  (31.  1910-11:180.) 

The  state  normal  of  eastern  Kentucky  has  the  following 
preparation  for  the  grade  teacher:  singing,  reading,  easy  melody 
writing,  good  tone,  pure  enunciation,  accuracy  in  intervals,  note 
reading,  and  rhythm.  To  this  end,  theory,  ear  training,  notation 
and  dictation  are  introduced  into  the  course.  The  advanced 
course  is  closely  applied  to  psychology  of  muscle  control,  and 
development  of  brain  cells.  The  applied  courses  are  four  years 
of  professional  training.  (99.) 

A  new  educational  spirit  has  pervaded  Tennessee  for  the  last 
few  years.  In  1909,  provision  was  made  for  three 
TENNESSEE  normal  schools  for  white  teachers,  the  east,  middle 
and  west  Tennessee  normals  at  Johnson  City, 
Murfreesboro  and  Memphis,  respectively.  There  are  approx- 
imately 11,000  teachers  in  the  state,  18%  being  in  the  colored 
schools.  One-fifth  of  the  population  is  colored.  There  are  a  few 
large  cities,  but  the  state  is  largely  rural,  over  four-fifths  of  the 
inhabitants  living  in  the  rural  districts.  (87.) 

The  normals  teach  music,  but  it  is  not  compulsory.  Public 
school  music  is  the  point  emphasized.  The  subject  is  usually 
introduced  in  the  normals  by  a  department  for  that  purpose,  and 
not  through  a  conservatory.  (387.) 

In  1900,  Alabama  had  45.2%  negro  population.    In  one- third 

of  the  counties  they  outnumbered  the  white  race; 

ALABAMA    in  one-sixth  of  the  counties,  they  outnumbered  three 

or  more  to  one;    in  six  counties,  the  negro  element 

predominated  more  than  five  to  one. 

The  state  is  essentially  rural  and  agricultural.  It  has  7,757 
teachers,  one- third  being  men  and  one- third  negroes.  The  aver- 
age yearly  salary  is  about  $200  for  men,  $150  for  women.  55% 
of  the  white  teachers,  and  58%  of  the  colored  are  teaching  on 
third  grade  certificates.  Two  hundred  fifty  teachers'  institutes 
are  held  in  different  counties  each  year.  The  state  supports 
seven  normals  as  follows:  at  Florence,  Troy,  Jacksonville, 
Daphne,  Alabama  Normal  at  Livingston,  Falkville  Normal, 
Agricultural  and  Mechanical  College  for  negroes  at  Normal. 
There  are  also  three  private  normals,  including  the  two  negro 
normals,  one  being  the  famous  normal  for  negroes  at  Tuskegee. 
(87.) 

The  property  value  of  Mississippi,  compared  to  the  popula- 
tion, is  very  low.  In  the  small  amount  of  money 
MISSISSIPPI  spent  for  each  child,  Mississippi  is  surpassed  by 
only  one  state,  South  Carolina.  Little  is  spent  on 
buildings.  Thirty-four  cents  per  capita,  as  against  the  average 
in  the  United  States  of  $6.45  is  the  amount  spent.  The  average 


80 

value  of  school  houses  is  $300.  There  are  no  cities  over  twenty- 
five  thousand  in  population.  Of  the  total  number,  88.5%  live 
in  the  country.  In  1910,  56.2%  were  negroes,  in  some  counties 
outnumbering  three,  four  and  five  to  one.  10,166  teachers  were 
employed  during  the  same  year,  with  an  average  salary  of  $250. 
The  state  scale  wage  was  $15  to  $75  for  teachers,  up  to  $100  for 
principals.  Only  holders  of  first  grade  certificates  received  over 
$30  per  month.  Examination  subjects  were  limited  to  the  com- 
mon'branches. 

The  public  high  schools  are  mostly  of  low  grade.  The  school 
of  pedagogy  at  the  university  serves  as  a  form  of  state  normal 
school.  (87.)  It  does  not  recognize  music  in  any  form,  however. 

Nearly  one-half  of  Louisiana  is  negro.  Only  Mississippi  and 
South  Carolina  have  a  larger  colored  portion.  In 
LOUISIANA  thirty-one  of  the  fifty-nine  parishes,  the  negroes  out- 
number two  or  more  to  one,  and  in  two  parishes  they 
outnumber  six  to  one,  in  two  others  eleven  to  one,  and  in  one 
parish  there  are  sixteen  negroes  to  every  white  man. 

One-fifth  of  the  population  lives  in  New  Orleans,  and  of  the 
other  four-fifths  73%  live  in  rural  districts.  Besides  New  Orleans 
there  are  only  two  other  cities  of  over  eight  thousand. 

It  is  a  rural  and  agricultural  state.  The  illiteracy  is  still  very 
high.  Only  62%  of  the  schoplhouses  are  owned  by  the  parishes, 
and  there  is  little  school  equipment. 

Little  is  taught  beyond  the  common  school  branches  in  any 
of  the  elementary  schools. 

The  state  supports  a  normal  *  at  Natchitoches,  and  there  are 
also  summer  normal  schools.  The  parish  of  New  Orleans  main- 
tains the  New  Orleans  Normal  and  Training  School.  The 
summer  normals  number  ten  for  white,  and  four  for  negro  teachers. 
The  high  school  system  is  not  developed  yet,  but  is  part  ele- 
mentary, part  secondary.  (87.) 

In  all  the  above  normals,  music  is  taught  for  two  years,  and 
is  compulsory.  The  schools  have  conservatories,  and  both 
public  school  music  and  professional  cultural  subjects  are  taught. 
Music  teaching  is  compulsory  in  nine  grades,  optional  in  the 
high  school.  (389.) 

Texas  employed  21,277  teachers  in  1910,  15%  being  colored. 
7%  of  all  were  graduates  of  normals.  36%  were  rural 
TEXAS  teachers.  Uniform  examination  questions  exist  through- 
out the  state. 

State  normals  are  located  as  follows:  The  Sam  Huston 
Normal  Institute  at  Huntsville,  North  Texas  State  Normal 
College  at  Denton,  Southwest  Texas  state  Normal  School  at 
San  Marcos,  and  West  Texas  State  Normal  College  at  Canyon, 
all  for  white  students.  Prairie  View  State  Normal  and  Industrial 
School  at  Prairie  View,  is  maintained  for  colored  students.  The 
state  has  also  a  large  annual  number  of  five  weeks'  summer 


81 

normals.  In  1910,  there  were  seventy- three  such  normals  for 
white,  and  forty-three  for  colored  students.  These  play  an 
important  part  in  the  training  of  teachers. 

The  great  size  and  sparse  population  of  Texas  make  educa- 
tional problems  difficult.  The  state  is  rural  and  agricultural, 
over  four-fifths  living  in  the  country.  One-fifth  is  negro.  Much 
progress  has  been  made  in  five  years,  and  much  remains  to  be 
done.  (87.) 

In  all  the  named  normals,  music  is  both  taught  and  com- 
pulsory. (390.)  The  one  at  Prairie  View  has  two  years  of  such 
training,  the  Tillotson  Collegiate  and  Normal  Institute  at  Austin 
has  one  year.  (145.  d.  e.) 

In  1900,  28%  of  Arkansas  was  negro.     In  thirteen  counties 
they  outnumbered,  in  four  counties  they  outnum- 
ARKANSAS    bered  four  or  more  to  one. 

The  state  is  rural  and  agricultural,  91.5%  living 
in  the  country. 

The  average  school  term  is  93.9  days,  as  against  118.2  for  the 
South  Central  Division,  and  154.1  for  the  United  States  as  a 
whole.  No  other  states,  except  North  and  South  Carolina, 
provide  less  than  one  hundred  school  days.  Little  is  taught  but 
the  common  branches.  The  schools  are  considered  among  the 
poorest  in  the  south.  The  estimated  value  of  all  school  buildings, 
private  and  public,  was  only  $706.  In  1906,  out  of  5,238  school- 
houses  1,101  were  worth  less  than  $100  each,  nearly  half  of  this 
number  valued  at  less  than  $50  each. 

The  state  hires  8,297  teachers,  46%  being  men,  19%  teachers 
of  colored  schools. 

Men          Women 

Average  salary,  1st  grade $48.12          $40.40 

2d       "     38.06  34.60 

3d  33.24  30.40 

Four  counties  average  less  than  sixty  days  school,  seventy- 
five  average  ninety- three  days.  Since  46%  are  men, -the  quality 
of  service  is  left  to  the  reader  for  judgment. 

The  state  supports  a  normal  at  the  state  university,  and  a 
branch  normal  for  negroes  at  Pine  Bluff.  Nothing  was  done 
toward  establishing  a  normal  for  white  students  until  1907. 

Where  high  schools  are  found,  they  are  supported  by  local 
taxation.  (87.) 

It  is  much  to  the  credit  of  the  state,  that,  considering  the 
hardships  and  the  recent  establishment  of  adequate  normal 
training,  a  two  year  course  of  study,  intended  to  fit  rural  teachers 
to  teach  music,  is  placed  on  the  curriculum.  The  course  of 
study,  worked  out  in  1911  by  prominent  educators,  also  includes 
the  study.  (39.  1911-12:197,240,360.)  So  that,  although  the 
fruits  may  not  be  very  apparent  as  yet,  the  seeds  for  future 
development  have  been  planted. 


82 

The  white  population  of  Oklahoma  is  increasing  more  rapidly 
than  the  black  or  Indian  races.  80%  live  in  rural 
OKLAHOMA  districts,  but  the  cities  are  increasing  faster  than 
the  rural  parts.  The  state  has  a  great  agricultural 
future  and  possibilities.  It  has  a  large  endowment  for  education, 
while  the  intellectual  character  of  its  white  population  insures 
the  development  of  a  very  important  state  system.  It  has 
graded  rural  schools,  union  graded  schools,  transportation  of 
pupils  and  consolidation.  This  state  has  made  greater  progress 
in  the  latter  phase,  then  some  of  the  older  states.  In  1911,  there 
were  eighty-six  such  districts. 

The  state  employs  10,020  teachers,  only  8%  being  in  the 
colored  schools.  In  each  county,  a  six  weeks'  summer  normal  is 
held,  which  follows  a  course. outlined  by  the  state  board.  Six 
normals  are  located  at  Tahlequali,  Durant,  Ada,  Edmond,  Alva 
and  Weatherford.  (87.) 

Music  is  both  compulsory  and  required  in  these  normals. 
They  have  conservatories,  and  all  branches  are  taught.  (391.) 
Tuition  is  free  in  all  but  instrumental  studies.  (40.  1912:121.) 

Considering  the  financial  condition  of  the  state,  much  can  be 
hoped  for  along  the  line  of  special  school  studies. 


CHAPTER  IV. 
NORTH  CENTRAL  DIVISION. 

In  1910,  Ohio  employed  27,841  teachers,  of  which  8,640  were 
men.    Four  state  normals  are  located  at  Athens,  Bowling 
OHIO     Green,  Kent,  and  Oxford.    There  are  city  training  schools 
at  Akron,    Cleveland,    Columbus,    Dayton   and   Toledo, 
besides  annual  institutes  in  each  county.    44.1%  of  the  popula- 
tion live  in  the  rural  districts.     (87.) 

Music  is  taught  in  the  normals,  but  is  elective.  The  course 
is  not  standardized,  and  various  requirements  are  made.  The 
normals  have  music  departments,  but  not  conservatories.  (392.) 

Indiana  is  65%  rural.    The  average  teaching  salary  is  $500. 
The  law  of  1907  requires  a  high  school  training,  and 
INDIANA    twelve  weeks'  professional  training  besides. 

There  are  seven  hundred  thirty  high  schools  in 
Indiana.  The  secondary  schools  have  reached  a  high  develop- 
ment. There  is  a  large  normal  at  Terre  Haute,  besides  annual 
county  institutes,  and  the  Indiana  Teachers'  Reading  Circle.  (87.) 

According  to  the  ruling  of  the  state  board  of  education,  music 
must  be  taught  for  twelve  weeks  in  normals.  (43.  1910:293.) 

The  Northern  Indiana  Normal  School  at  Valparaiso  has  a 
conservatory  of  standard  instruction  in  all  lines.  (107.) 


83 

Although  taught,  music  study  is  not  made  compulsory.    (393.) 

21.5%  of  Illinois  teachers  have  attended  normals,  7%  are 

graduates.      The   state   supports   annual   county   in- 

ILLINOIS    stitutes  in  each  county.    There  are  five  normals  with 

summer  sessions,  and  a  city  normal  at  Chicago.    (87.) 

All  the  normals  give  courses  in  music,  some  with  conservatory 
connected,  and  thorough  courses  in  all  branches  of  music.  School 
music  is  an  important  phase  on  the  curriculum.  (44.  1908-10: 
63— all  ref.  1910-12:535,543,592.  108,  110,  111,  112.) 

About  60%  of  Michigan  is  a  rural  population.     The  state 

employed  15,000  teachers  in  1910,  half  of  them  being 

MICHIGAN    in  the  country.     17%  were  men.    Over  30%  of  the 

teachers  had  at  least  one  year  professional  training. 

Each  county  holds  an  annual  teachers'  institute.    The  state  has 

about  four  hundred  well  organized  high  schools. 

Michigan  supports  four  normals  at  Ypsilanti,  Mt.  Pleasant, 
Marquette,  and  Kalamazoo.  (87.)  In  all  of  these,  very  excellent 
music  courses  are  to  be  found.  That  of  Ypsilanti  will  be  described, 
and  the  others  agree.  (394.)  There  are  seven  instructors  in  the 
department.  Thorough  courses  are  offered  in  kindergarten 
music,  sight  singing,  history  and  literature  of  music,  ear  training, 
full  courses  in  harmony,  counterpoint  and  composition,  with 
lessons  in  voice,  piano,  organ  or  violin,  if  desired.  In  public 
school  music,  methods  for  all  grades,  and  suitable  literature  for 
the  same,  high  school  music  and  conducting  form  the  general 
plan.  A  two  year  supervisors'  course  is  given,  which  includes 
preparation  in  drawing,  since  the  public  has  demanded  a  general 
subject,  and  drawing  seemed  the  most  popular.  The  normals  of 
this  state  have  frequent  opportunity  to  place  students  so  prepared. 
A  three  year  course  is  offered  also,  to  give  broader  specialization 
along  the  supervisors'  line  in  the  two  subjects.  (48,  p.  138.) 

Wisconsin  employs  14,729  teachers,  12%  of  whom  are  normal 

graduates.    There  are  nine  state  normals  located  at 

WISCONSIN    LaCrosse,  Milwaukee,  Oshkosh,  Platteville,   River 

Falls,    Stevens   Point,    Superior,    Whitewater,    and 

Eau  Claire. 

The  school  system  is  well  organized.  50%  live  in  rural  parts. 
There  are  two  hundred  eighty-six  high  schools,  with  an  enroll- 
ment of  27,768  pupils.  (97.) 

The  reports  make  mention  of  the  music  course  in  the  normals, 
outlining  the  work  in  a  few,  especially  that  of  St.  Francis  Normal 
near  Milwaukee.  Good  courses  are  given  at  Oshkosh  and  at  the 
Platteville  Normal.  All  of  these  schools  emphasize  public  school 
music,  and  all  the  courses  tend  toward  the  teachers'  training. 
There  is  no  evidence  of  pure  conservatory  as  an  accessory  to  the 
normal,  nor  toward  any  professional  training  in  applied  music  as 
an  end  in  itself.  (117,118.) 


84 

Minnesota  is  richly  agricultural  and  50%  rural.  25%  live  in 
St.  Paul  and  Minneapolis.  The  illiteracy  is  low. 
MINNESOTA  There  are  15,157  teachers,  12%  being  men,  26% 
normal  graduates. 

Five  normals  are  located  at  Winona,  Mankato,  St.  Cloud, 
Duluth,  and  Moorhead.  Many  high  schools  offer  one  year  of 
professional  training.  There  were  two  hundred  ten  high  schools 
in  1910,  with  21,000  pupils.  (87.) 

Music  is  taught  in  all  the  normals,  public  school  music  being 
emphasized.  (395.) 

Iowa  is  rural  and  agricultural,  75%  living  in  the  country. 
16%  live  in  the  seventeen  cities  of  over  eight  thousand. 
IOWA  The  illiteracy  is  2.3%  and  with  Nebraska,  is  the  lowest 
in  the  union. 

The  state  has  one  large,  well  organized  normal  for  teachers, 
which  turns  out  over  two  hundred  graduates  yearly.  A  number 
of  colleges  assist  the  state  in  this  preparation.  Normal  training 
classes  were  authorized  in  the  high  schools  in  1911.  (87.) 

The  Iowa  State  Teachers'  College  has  a  strong  music  depart- 
ment. In  1910  to  X911,  thirty-four  women  took  the  public  school 
music  course,  and  twenty-eight  enrolled  in  the  special  teachers' 
course.  The  following  year,  forty  took  the  work,  the  special 
teachers'  course  had  fifty-two  of  both  sexes.  (56.  1911-12:434.) 

The  State  Normal  at  Cedar  Falls  has  a  successful  course. 
Two  terms  are  required.  Harmony,  history,  psychology  of 
music,  as  well  as  all  the  applied  branches  are  taught.  There  are 
nine  instructors.  (121.) 

The  Woodbine  Normal  lists  work  in  chorus,  voice  culture, 
and  thorough  instruction  in  instrumental  music.  (120.) 

Missouri  is  57.5%  rural.  Kansas  City  and  St.  Louis  are  the 
only  large  cities.  4.8%  are  negroes.  The  educational 
MISSOURI  conditions  are  unequal  in  different  parts  of  the 
state.  In  1911,  there  were  19,000  teachers,  one- 
fourth  being  men. 

There  are  five  normals  for  white  teachers,  and  one  for  negroes. 
St.  Louis  has  an  institution  for  training  teachers.  The  university, 
as  well  as  all  the  normals,  has  summer  sessions. 

In  1910,  there  were  four  hundred  and  nineteen  high  schools. 
(57.) 

All  the  normals  teach  music,  but  it  is  not  compulsory.  The 
course  averages  from  twelve  to  one  hundred  forty-four  weeks  in 
length.  (397.)  The  one  at  Kirkville  has  the  equivalent  of  a 
strong  conservatory  in  all  branches.  (124.) 

The  summer  session  of  the  university  had  sixty-two  in  the 
music  course  in  1911.  (57.  1911:350.) 

For  the  attendance  in  music  for  each  normal  in  1911,  the 
reader  is  referred  to  the  table  for  Missouri  normals,  part  I  of 
thesis,  page  33. 


85 

North  Dakota  is  rural  and  agricultural,  89%  living  in  the 

country.    There  are  no  cities  as  large  as  fifteen 

NORTH  DAKOTA    thousand.     The  state  has  a  large  educational 

fund,  and  conditions  for  improvement  are  more 

favorable  than  in  some  states.    It  has  good  schools,  and  sentiment 

favors   education.     Expenditure  has  multiplied   four  times  in 

eleven  years,   while  the  school  population  has  only  doubled. 

High  schools  are  developing  very  rapidly. 

The  state  normals  are  located  at  Mayville  and  Valley  City. 
(87.) 

As  early  as  1903,  activity  in  school  music  is  noted  in  the 
report.  The  Valley  City  Normal  had  free  singing  classes,  with 
instruction  in  applied  music.  (127.) 

The  State  Normal  and  Industrial  School  at  Ellendale  also 
recognized  music  on  the  curriculum  in  1908.  (126.) 

South  Dakota  is  an  agricultural  state,  85%  of  the  people 

being  in  the  country.    3%  are  in  cities  over  eight 

SOUTH  DAKOTA    thousand  in  population.     54%  are  males,  5% 

Indian.     The  expenditure  for  schools  is  about 

the  average,  elementary  schools  are  well  graded,  and  a  state 

course  of  study  is  followed. 

The  state  employs  6,000  teachers,  salaries  are  an  average. 
State  normals  are  located  at  Madison,  Spearfish  and  Springfield, 
with  a  normal  and  industrial  school  at  Aberdeen.  (87.) 

Music  is  taught  in  all  the  normals,  and  is  compulsory.  The 
number  of  weeks'  training  is  not  uniform.  Public  school  music 
and  voice  are  emphasized. 

The  subject  will  be  required  in  certificates  for  examination, 
as  soon  as  the  means  for  training  teachers  will  justify  it.  (396.) 

The  State  Normal  School  of  Madison  has  this  paragraph  in 
the  catalog:  "Music  is  recognized  as  an  essential  feature  of 
every  modern  school.  The  aim  is  to  cultivate  intelligent  apprecia- 
tion and  thorough  knowledge.  The  course  covers  appreciation, 
production  and  reproduction  of  music."  Piano  and  voice  are 
taught.  No  theoretical  work  is  given.  (128.) 

The  Spearfish  Normal  has  practically  the  same  work.    (129.) 

Nebraska  is  rural  and  agricultural.    Almost  the  entire  school 

funds  come  from  local  taxation.    There  are  few  large 

NEBRASKA    cities,   75%  living  in  the  country.     In  1900,  the 

illiteracy  was  the  lowest  in  the  union.    Since  1905, 

the  state  has  been  deeply  interested  in  domestic  science  and 

agriculture. 

In  1910,  the  school  enrollment  was  thirty- two  thousand. 
The  high  schools  have  had  a  rapid  growth  in  ten  years. 

The  training  of  teachers  has  made  great  progress.  Three 
state  normals  are  located  at  Kearney,  Wayne  and  Peru.  There 
are  also  "junior  normals"  in  eight  different  cities,  which  hold 
sessions  of  six  to  eight  weeks  during  the  summer.  (87.) 


86 

Music  is  taught  in  the  normals  one  hour  for  one  semester. 
There  are  no  conservatories  in  connection  (399.),  nor  is  the  work 
very  extensive.  At  present,  most  of  the  teaching  is  done  by 
teachers  from  private  conservatories.  The  awakening  is  not  as 
yet  equal  to  that  in  many  of  the  western  states.  The  subject  is 
far  from  holding  a  place  of  equality  with  other  studies.  Neither 
the  teaching  nor  preparation  of  the  teachers  justify  equal  rank, 
since  the  preparation  is  not  yet  the  equivalent  of  that  in  other 
studies. 

The  State  Normal  at  Peru  has  work  in  elementary  harmony, 
public  school  methods,  history  and  chorus  for  four  semesters. 
Kearney  has  similar  work.  (130,131.) 

The  junior  normals  have  work  in  ear  training,  elementary 
harmony,  rote  singing,  fifty  lessons  being  listed  in  the  one  at 
Valentine.  (133.) 

Kansas  stands  third  in  illiteracy,  being  2.9%.  School  prop- 
erty is  valued  at  $18,000,000,  the  average  value  of 
KANSAS  school  houses  being  $1,900.  80%  teach  on  second  and 
third  grade  certificates.  5%  of  the  teachers  are  normal 
graduates.  Annual  institutes  are  held  in  each  county. 

The  state  supports  three  normals.  District,  union  and  county 
high  schools  all  exist.  (87.) 

Public  school  music  is  emphasized  in  the  normals.  Institutes 
have  four  weeks'  training.  All  certificates  require  music  except 
the  third  grade  county  certificate.  (400.) 

The  normal  at  Emporia  has  work  equivalent  to  a  standard 
conservatory,  including  orchestral  department  and  composition. 
(134.) 


CHAPTER  V. 
WESTERN  DIVISION. 

Considering  the  sparse  population,   educational   conditions 

are  very  good  in  Montana.     The  schools  are  well 

MONTANA    supplied,  and  the  expenditure  per  capita  is  very  high. 

The  average  value  of   schoolhouses  is  about  $3,500. 

More  than  half  the  counties  have  county  high  schools,  and  a 

number  of  district  high  schools  are  maintained. 

There  were  2,250  teachers  in  1910,  26%  being  normal 
graduates.  The  average  salaries  for  men  were  $900,  for  women 
$600. 

A  normal  is  maintained  at  Dillon.  All  but  high  school  teachers 
must  attend  the  annual  county  teachers'  institute.  (87.) 

The  normal  is  required  to  offer  thirty-six  weeks'  training  in 
music.  Public  school  music  is  offered,  as  well  as  piano  and  vocal 
instruction,  there  being  a  conservatory  in  connection.  (401.  135.) 


87 

\ 

Wyoming  employed  1,109  teachers  in  1910,  of  whom  141 

were    men.      Sparse    population    makes    education 

WYOMING     difficult.    29.6%  of  the  population  is  found  in  seven 

cities  along  the  railroad.     Outside  of  the  cities,  the 

schools  are  all  one  room  rural  buildings.    The  high  altitude,  lack 

of  intensive  agriculture,  lack  of  utilized  resources,  and  small 

population  naturally  preclude  the  possibility  of  a  highly  developed 

school  system. 

A  high  school  is  now  found  in  each  county.  In  1905,  there 
were  fifteen,  with  an  attendance  of  seven  hundred  seventy-one; 
in  1910  there  were  twenty-three,  with  fifty-seven  teachers  and 
fourteen  hundred  forty- two  pupils. 

The  university  has  a  normal  department  for  the  training  of 
teachers.  (87.)  Music  is  taught  in  the  normal,  but  is  not  com- 
pulsory. The  subject  is  required  in  examination  for  special  cer- 
tificate only.  (402.) 

Colorado  is  a  mining  state.     30%  of  the  population  live  in 
cities  of  over  twenty-five  thousand.     51.7%  are  in 
COLORADO     the  country. 

The  schools  have  made  remarkable  progress  re- 
cently. Most  of  them  are  relatively  well  equipped.  40%  of  the 
teachers  are  rural.  15%  of  the  schools  are  still  sod  or  log  houses, 
yet  the  average  value  of  schoolhpuses  is  $5,216. 

There  were  5,291  teachers  in  1908,  85.3%  being  women. 
64%  were  in  graded  schools.  The  salaries  average  $92.95  for 
men,  $51.57  for  women. 

Colorado  maintains  the  Colorado  State  Normal  School  at 
Greeley,  which  is  large.  One  private  normal  is  listed,  with  attend- 
ance of  seventy-seven  pupils.  There^is  also  an  annual  institute 
in  each  of  the  thirteen  institute  districts. 

In  1908,  there  were  seventy-seven  district  high  schools, 
thirteen  county  high  schools,  and  nine  union  district  high  schools. 
These  schools  had  a  teaching  force  of  427,  with  an  enrollment  of 
10,321.  (87.) 

As  early  as  1894,  the  normal  at  Greeley  aimed  at  development 
of  the  public  school  music  teacher.  Rudiments,  harmony,  sight 
singing,  notation  and  practice  teaching  were  included,  "looking 
to  the  time  when  music  would  be  required  in  all  schools."  (136.) 

In  1902,  in  this  same  normal,  vocal  music  was  taught  as 
applied  to  child  teaching.  (136.) 

In  1912,  the  Greeley  normal  had  a  music  course  leading  to  a 
special  diploma,  and  license  to  teach  music  in  the  public  schools 
of  Colorado.  (69.  1911-12:147.) 

Considering  the  difficulties  under  which  New  Mexico  has 
labored,  the  schools  maintained  are  very  good. 
NEW  MEXICO    The  seven  incorporated  towns  and  thirteen  ad- 
ditional ones  have  schools  in  other  parts  of  the 
country.    85.8%  of  the  people  are  in  the  rural  parts.    There  are 


many  Indians  and  Mexicans.  In  1910,  there  were  two  Indian 
missions  and  twelve  government  schools. 

High  schools  are  being  developed  in  the  towns  and  cities. 
There  were  eleven  four  year  high  schools  and  seven  shorter  course 
schools  in  1910,  as  against  six  and  two  in  1900.  There  are  about 
1,600  teachers. 

Three  normals  are  located  at  Silver  City,  Las  Vegas,  and 
El  Rito,  the  latter  being  a  Spanish- American  normal.  The 
attendance  and  graduates  of  these  schools  are  small  in  number. 
Teachers'  institutes  of  two  weeks  must  be  held  annually  by  the 
county  superintendents.  (87.  403.) 

On  professional  certificates,  music  may  be  accepted  to  equal 
two  units.  (70.  1910-12:71.) 

The  normal  school  at  East  Las  Vegas  has  a  music  department 
of  twenty-two  students.  (70.  1910-12:79.) 

17.9%  of  the  population  of  Arizona  are  foreign  born,  of  which 

59%  are  Mexicans,  75.6%)  white  and  1.5%  negroes, 

ARIZONA    with  11.5%  Indians.     Of  the  total,  58.4%  are  men. 

In  1900,  84.1%  lived  in  the  country.     There  was  no 

city,  at  that  time,  as  large  as  eight  thousand.     The  illiteracy 

equalled  19.9%  of  the  white  population,  29%  of  the  total.    The 

Mexicans  cause  the  large  illiteracy. 

The  average  value  of  schoolhouses  increased  rapidly  in  late 
years,  being  $3,835  in  1907.  The  schools  are  small,  only  fifteen 
had  as  many  as  eight  teachers  in  1906.  Only  five  employed 
fifteen  teachers  in  a  school. 

The  schools  are  graded  and  relatively  well  taught.  During 
the  last  year,  there  were  645  teachers,  109  were  men,  536  women. 
The  average  salary  was  $99.50  for  men,  and  $75.06  for  women, 
with  a  school  term  of  six  and  three-fourth  months. 

Two  normals  are  located  at  Tempe  and  Flagstaff.  The 
number  of  graduates  of  both  schools  combined  has  been  exceeded 
two  or  three  times,  by  the  number  of  normal  graduates  coming 
from  other  states. 

The  first  high  school  was  in  1895.  The  small  population 
makes  these  schools  develop  very  slowly.  In  1908  there  were 
eight.  (87.) 

The  Tempe  Normal  devotes  one-ninth  of  the  time  to  music, 
the  aim  being  to  make  "  independent  readers,  and  genuine  lovers 
of  music."  Chorus,  voice  culture,  sight  reading  and  methods  of 
teaching  music  are  the  points  emphasized.  No  private  lessons 
are  given. 

The  Modern  Music  Series  are  required  by  the  Arizona  law. 
(137.) 

Of  the  2,448  teachers  in  Utah  1,066  are  normal  graduates; 

1,311  had  some  professional  training,  while  71  had  no 

UTAH     such  preparation.    There  is  a  state  normal  in  connection 

with  the  state  university,  and  a  branch  state  normal  in 


89 

the  southern  part  of  the  state.  The  Brigham  University  at 
Provo  has  a  teachers'  college  for  training  teachers  for  thirty 
church  high  schools  in  Utah,  Idaho  and  Arizona.  Each  county 
must  hold  an  annual  teachers'  institute  of  ten  days.  Men  and 
women  receive  equal  salaries.  Educational  conditions  are  good. 

The  population  is  sparse,  half  being  collected  in  five  cities 
and  a  number  of  small  towns.  The  illiteracy  is  very  low.  The 
people  are  thrifty  and  believe  in  education.  There  is  a  uniform 
course  of  study. 

In  1900,  there  were  five  high  schools,  in  1910,  there  were 
thirty-three.  In  1911,  high  school  laws  were  passed  which  will 
stimulate  their  further  development.  (87.) 

Graduates  of  the  state  normal  school  are  qualified  to  teach 
music,  as  it  is  one  of  the  courses  which  they  take  at  the  school. 
(404.) 

Nevada  has  500  teachers,  few  being  paid  less  than  $70,  while 
salaries  of  $100  to  $110  are  common.  40%  of  the 
NEVADA  teachers  are  certified  on  normal  school,  college,  or 
state  life  certificate  from  other  states.  The  normal  is 
a  department  of  the  university  at  Reno.  Recently,  normal 
classes  were  established  in  the  high  schools  for  the  training  of 
rural  teachers.  There  is  a  marked  gain  in  the  number  of  high 
schools  lately.  In  1890,  there  were  seven  district  high  schools; 
in  1900,  nine  district  high  schools  and  one  county  high  school; 
in  1910,  eleven  district  and  ten  county  high  schools.  Practically 
all  of  them  now  have  a  four  year  course.  Educational  conditions 
are  very  good.  There  is  a  high  degree  of  certification,  and  the 
standards  are  higher  than  those  in  some  of  the  eastern  states. 
Salaries  are  good.  (87.) 

Public  school  music  is  taught  in  the  normal  throughout  the 
course.  A  simple  examination  is  required  for  certificate,  and  has 
been  for  six  years.  (405.) 

In  1900,  15.2%  of  Idaho  were  foreign  born,  57.7%  were  men, 

3.5%   were   Indian,    1.7%   were   Chinese.     Only   6.2% 

IDAHO     lived  in  cities  of  over  four  thousand  population.     The 

state  is  largely  mining  and  agricultural,  and  sparsely 

populated. 

The  average  value  of  school  buildings  is  $3,000.  All  the 
schools  are  being  graded  and  standardized  very  rapidly.  A 
course  of  study  is  used.  Special  subjects,  such  as  domestic 
science,  manual  training  and  agriculture  are  entering  the  schools. 
There  are  a  few  large  consolidated  schools. 

There  are  two  normals  since  1907,  and  three  summer  normals 
with  six  weeks'  instruction.  (87.)  Public  school  music  is  taught 
on  the  curriculum.  (406.)  As  early  as  1907,  singing,  elementary 
and  advanced  harmony,  history  of  music,  orchestra  with  private 
lessons  on  piano  and  violin,  were  found  in  the  Lewiston  State 
Normal.  (138.) 


90 

In  1912,  the  same  normal  reports  a  music  specialists'  course 
"as  there  is  a  growing  demand  for  it."  The  department  was 
growing  so  that  it  anticipated  the  possibility  of  a  conservatory 
for  the  music  department.  (74.  1911-12:40,43.) 

Washington  employs  7,170  teachers,  20.7%  being  men.     It 

supports  three  normals  at  Bellingham,  Cheney  and 

WASHINGTON     Ellensburg,  respectively.     There  are  also  special 

teachers'  training  classes  at  the  state  university, 

and  at  the  state  agricultural  college.     The  University  of  Puget 

Sound  has  a  normal  course  also. 

Over  one-third  of  the  people  live  in  Seattle,  Tacoma  and 
Spokane.  Nearly  one-half  of  the  population  lives  in  cities  of 
over  eight  thousand  inhabitants.  One-fourth  are  foreign  born. 

The  state  has  made  commendable  efforts  toward  education. 
The  development  of  high  schools  has  been  rapid  in  ten  years. 
In  1890,  there  were  five;  in  1902,  three  hundred  seven,  one- third 
being  four  year  high  schools.  There  is  a  uniform  course  of 
study.  (87.) 

Public  school  music  is  taught  in  all  the  normals  for  one 
semester  at  least.  A  conservatory  accommodates  the  music 
department.  (407.) 

In  1903,  the  Ellensburg  Normal  had  work  in  singing,  notation, 
special  study  of  piano  and  voice,  lectures  upon  music  form, 
ensemble,  chorus  and  quartet  work.  The.  work  in  piano  and 
voice  was  a  finished  product.  (140.) 

In  1904,  the  public  school  music  courses  were  free.  There 
were  no  private  teachers.  A  school  orchestra  was  maintained. 
(139.) 

Vocal  music  has  always  been  required  as  regular  work  in  the 
normal  at  Bellingham,  as  well  as  in  the  other  two  normals.  The 
former  normal  has  a  six  year  voice  course,  a  special  piano  teacher, 
and  one  also  for  stringed  instruments. 

The  normal  music  classes  are  free  to  all  students.  (75.  1911- 
12:33,41,43.) 

Oregon  employs  4,000  teachers,  750  being  in  Portland.  The 
state  supports  one  normal  at  Monmouth.  High  school 
OREGON  training  clases  were  introduced  recently.  The  future 
high  school  teachers  must  be  college  graduates. 

The  state  is  rural  and  agricultural.  Portland  has  30.8%  of 
the  people.  There  is  only  one  other  city  of  any  size.  *  54.4%  live 
in  rural  districts.  In  1910,  there  were  132,108  school  children  in 
2,265  districts,  an  average  of  527  pupils  to  a  district.  Consolida- 
tion is  allowed,  but  has  made  little  headway.  There  is  a  state 
course  of  study.  In  1910,  there  were  one  hundred  eighteen  high 
schools,  seventy-six  being  four  year  schools.  (87.) 

The  normal  school  has  thirty-six  weeks'  training  in  public 
school  music.  Vocal  music  is  also  emphasized.  (409.  145f.) 


91 

In  1900,  California  was  24.7%  foreign  born,  the  Japanese  and 

Chinese  contributing  largely.    Agriculture  is  one  of 

CALIFORNIA    the  resources,  but  only  47.6%  live  in  the  country. 

43.8%  live  in  cities  of  over  eight  thousand.    There 

is  little  illiteracy.    In  1900,  it  was  4.8%,  but  only  1%  among  the 

white  race. 

The  schools  make  an  excellent  showing  in  material  conditions, 
the  average  value  of  schoolhouses  being  $10,000  each.  The 
rural  schools  are  well  graded  and  taught  by  good  teachers.  The 
high  school  buildings  are  the  best  of  their  kind.  Good  libraries 
are  a  feature  of  the  California  schools.  Nature  study  is  in  all, 
and  agriculture  in  many,  manual  training  and  domestic  science 
being  in  the  city  schools,  music  in  all. 

There  is  little  consolidation  yet,  but  excellent  high  schools. 
In  1909,  one  hundred  eighty-seven  were  entitled  to  state  aid. 
There  are  forty-nine  private  high  schools  and  academies.  There 
is  a  late  provision  for  two  and  six  year  high  schools. 

In  1909,  there  were  10,737  teachers,  13.5%  being  men.  1,480 
were  in  high  schools,  where  the  salary  was  $110.  In  the  ele- 
mentary schools  the  salary  was  $80.  47%  were  graduates  of  a 
California  normal,  or  one  of  equal  rank. 

There  are  five  normals  located  at  San  Diego,  Los  Angeles, 
San  Jose,  San  Francisco  and  Chico.  In  1909,  a  sixth  was  put  in 
at  Santa  Barbara,  to  train  teachers  in  manual  training  and 
domestic  science. 

California  credits  the  work  of  about  sixty  normals  in  the 
United  States  and  Canada,  and  about  twenty  other  state  in- 
stitutions in  the  United  States.  The  two  large  universities  have 
training  schools  for  high  school  teachers.  (87.) 

In  all  the  normals,  music  is  taught  throughout  the  course, 
and  is  required.  It  is  a  department,  and  not  a  conservatory. 
(410.) 

The  normal  at  Chico  has  twenty  weeks  of  voice  culture,  two 
hours  per  week  for  the  first  term;  the  second^  term,  melody 
writing  for  the  same  period;  the  third  term  requires  more  ad- 
vanced work,  with  selection  of  songs  and  practice  teaching.  A 
special  elementary  course  of  twenty  weeks,  four  hours  per  week, 
requires  talent  for  leadership.  (144.) 

In  1910,  the  San  Diego  normal  gave  sight  singing,  ear  training, 
harmony,  history  and  elementary  theory.  (142.) 

Footnote — Monroe's  Cydopedia  of  Education  has  been  used  as  a  basis  for 
general  conditions  in  this  section,  since  it  is  one  of  the  best  late  authorities. 


DIVISION  II. 

State  Universities  and  Colleges. 


INTRODUCTION. 

MUSIC  DEPARTMENTS  AND  CHAIRS  OF  MUSIC. 

All  the  catalogs  of  state  universities  and  colleges  have  been 
consulted  which  have  been  available,  with  a  view  to  making  the 
report  as  complete  as  possible.  Every  state  university  and  all 
the  large  eastern  colleges  have  been  corresponded  with,  in  regard 
to  the  character  and  extent  of  the  musical  work  done. 

While  the  number  of  smaller  colleges  is  almost  endless  in  the 
country  as  a  whole,  some  pains  have  been  taken  to  tabulate  all 
that  have  sent  catalogs  to  the  library;  for  the  efforts  are  ex- 
tremely gratifying,  often  outranking  the  larger  and  wealthier 
institutions. 

A  brief  history  has  been  added  of  the  music  department  of 
all  state  universities,  as  well  as  of  all  the  large  universities  and 
colleges,  since  their  past  activities  are  considered  very  valuable 
as-  an  educational  study. 


95 


CHAPTER  I. 
NORTH  ATLANTIC  DIVISION. 

MAINE. 

The  State  University  of  Maine  has  no  department  of  music, 

TTwivirowrY  OP  MATNF     and  gives  no  instruction  in  this  branch 
UNIVERSITY  OF  MAINE      whatever>      (146.     413>) 

Bowdoin  College  has  a  department  with  one  instructor,  the 
courses  being  as  follows:  1.  "Music  as  an 
BOWDOIN  COLLEGE  art/'  including  the  general  development, 
composers'  lives,  notation  and  rhythm,  with 
papers  on  assigned  subjects,  and  intended  to  serve  as  a  prepara- 
tion for  appreciation  of  music.  Number  2  is  a  continuation  of 
the  same,  including  musical  appreciation  and  advanced  history. 
One  year  of  elementary  harmony  is  given,  followed  by  one 
semester  of  advanced,  and  one  semester  of  counterpoint.  All 
the  above  courses  are  open  to  sophomores,  juniors  and  seniors. 

Chorus  and  orchestra  classes  are  held  one  meeting  per  week, 
with  voluntary  attendance.  The  department  was  established  in 
1912.  (147.) 

NEW  HAMPSHIRE. 

Dartmouth  College  established  its  chair  of  music  in  1910, 
with  one  instructor.  He  was  called  the 

DARTMOUTH  COLLEGE  musical  director,  and  held  the  bachelor  of 
music  degree.  One  year  of  harmony  was 
taught.  (148.  1901-02:134.) 

In  1903,  this  was  augmented  by  one  year's  study  of  "music 
as  an  art,"  which  consisted  of  the  study  of  composers,  their  lives 
and  works.  (148.  1903-04:145.) 

The  present  courses  include  the  following  studies:  (1)  "Music 
as  an  art,"  the  course  being  practically  like  the  same  "named  in 
Bowdoin  College.  An  "Angelus"  piano  player  is  used  for 
illustration  in  this  course.  A  three  hour  course  in  harmony  is 
given,  and  a  two  hour  study  of  the  history  of  music.  All  epochs 
are  studied  in  the  history  course,  with  lantern  slide  illustration. 
Dickinson's  History  of  Music  is  combined  with  lecture  and 
readings.  (148.  1912-13:175.) 

VERMONT. 
The  State  University  of  Vermont  has  no  music  department, 

TTNTTVPRQTTV    HT?    VT^PMnXTT 

VERMONT 


96 


For  1911  to  1912,  one  member  of  the  faculty  was  listed  as 

professor  of  German  language,  literature  and  director  of  music." 

So  that,  while  not  being  a  formal  study  in  the  university,  its 

cultural  side  is  being  made  use  of,  probably  in  chapel  exercises. 


MASSACHUSETTS. 

Harvard  University  has  a  very  strong  department  in  its  chair 
of  music,  and  is  of  long  standing.    It  is  a 

HARVARD  UNIVERSITY    pioneer  in  this  line  of  work,   and  has 

probably  been   more   influential   in   the 

development  of  music  as  a  serious  study  in  college,  than  any 
other  one  institution  in  this  country.  Harvard  has  served  as  a 
model  for  creating  new  chairs  in  music,  not  only  in  western  in- 
stitutions, but  in  some  of  the  eastern  colleges. 

Before  President  Eliot,  there  was  no  regular  instruction  in 
the  theory  of  music.  The  duties  of  the  instructor  were  simply 
to  direct  the  choir,  and  play  the  organ  in  chapel.  In  1870,  for 
the  first  time  in  the  history  of  Harvard,  music  was  represented 
by  a  full  course  of  lectures  upon  the  history  of  music  by  Mr.  Paine. 
In  the  same  year,  the  faculty  voted  to  introduce  harmony  and 
counterpoint  as  an  elective,  at  Mr.  Paine's  suggestion.  Canon 
and  fugue,  free  thematic  music,  history  of  music  and  instru- 
mentation were  added  later. 

In  1873,  Mr.  Paine  became  assistant  professor;  in  1875,  he 
became  full  professor,  introducing,  in  the  meantime,  "honors  in 
music.  '  Up  to  1884,  twenty-one  took  these  "honors/'  four  went 
abroad,  six  published  compositions,  several  gained  reputation  as 
composers,  some  took  the  master's  degree,  two  became  musical 
critics. 

At  this  early  date,  1894,  the  aim  of  the  department  was: 
1st,  for  the  professions  of  teaching  and  composing;  2d,  for  those 
who  devote  themselves  to  musical  criticism,  literature  or  the 
cultivation  of  a  musical  taste.  All  courses  counted  toward  the 
bachelor's,  the  master's,  or  the  doctor's  degree,  the  latter  being 
equivalent  to  the  doctor's  degree  in  music  in  the  English  uni- 
versities. 

The  department  advocated,  at  this  period,  a  four  year  course 
in  practical  and  theoretical  music,  since  advanced  "theoretical 
work  should  be  combined  with  a  trained  musician,"  and  no  one 
should  be  admitted  without  some  practical  playing  ability  and 
decided  talent.  It  further  added  that  such  a  course,  with  a 
bachelor  of  music  degree,  would  set  a  higher  standard  for  the 
profession  in  the  country.  (150.  1894-95:311.) 

By  1897,  nine  graduates  had  composed  fifty-six  published 
pieces  of  music,  some  of  them  being  operas,  suites  for  orchestra 
and  strings,  among  the  number  being  Arthur  Foote,  well  known 
composer  and  graduate  of  1874,  sixteen  of  the  manuscripts  being 
from  his  pen.  (150.  1896-97:461.) 


97 

In  1895,  Mr.  Paine  was  given  an  assistant.  The  courses  for 
1897  to  1898  were  harmony,  counterpoint,  history,  canon  and 
fugue,  free  composition,  orchestration,  and  a  course  of  lectures, 
supplemented  by  ten  chamber  concerts  in  the  Sanders  theatre, 
open  to  the  university  and  public,  the  Kneisel  quartet,  and  first 
ranking  artists  being  presented.  (150.  1897-98:389.) 

By  1900,  a  new  course  in  musical  form  had  been  added,  while 
$75  was  subscribed  to  bring  players  of  orchestral  instruments 
into  the  class  of  orchestration,  for  the  purpose  of  demonstrating 
the  quality  of  tone  and  use  of  the  instruments.  An  orchestrelle 
had  been  put  in  for  the  use  of  the  history  class,  by  the  Aeolian 
Company  of  New  York.  (150.  1900-01:538.) 

The  enrollment  almost  doubled  in.  the  year  1901  to  1902, 
while  the  need  for  music,  books  and  instruments  was  felt  very 
keenly,  but  without  the  necessary  funds.  (150.  1901-02:537.) 

The  first  notice  of  harmony  and  counterpoint  as  entrance 
credits  came  in  1902.  There  were  then  eight  courses  given,  the 
number  enrolled  almost  doubling  from  the  previous  year.  (150. 
1902-03:377.  416.) 

In  1903,  nine  courses  were  offered  under  four  instructors, 
while  approximately  fourteen  successful  graduates  had  been 
turned  out.  (150.  1903-04:621.) 

In  1905,  Prof.  Paine,  who  had  been  with  Harvard  from  1869, 
resigned  to  devote  himself  to  composition,  and  his  work  was 
continued  by  three  of  his  pupils. 

At  this  time,  exchange  courses  were  instituted  between  the 
New  England  Conservatory  of  music,  and  legalized  by  the  cor- 
poration, the  scheme  having  been  in  use  informally  for  several 
years.  Harmony  students  had  played  in  the  conservatory 
orchestra,  and  had  their  compositions  played.  This  was  now 
approved  by  the  faculty  of  arts  and  sciences.  This  allowed 
that  advanced  work  done  at  the  conservatory,  combined  with 
theory  at  Harvard,  counted  as  half  course.  In  return,  con- 
servatory students  took  free  certain  courses  in  English  literature, 
modern  languages,  physics  and  public  speaking  at  Harvard. 
(150.  1905-06:285.) 

The  first  doctor  of  philosophy  degree  in  music  was  given  by 
Harvard  in  1905;  the  same  candidate  since  had  a  grand  opera 
performed.  In  1906,  several  took  master's  degrees  in  music. 
There  were  two  candidates  for  the  doctor's  degree  in  1907. 

A  new  music  hall  was  also  planned  to  cost  $500,000,  of  which 
$60,000  was  already  available.  (150.  1906-07:201,288,291,406.) 

In  1908,  eight  Harvard  graduates  specialized  in  music,  and 
went  immediately  to  Paris,  Munich  and  Berlin  for  advanced 
study. 

Mention  was  made  of  frequent  letters  coming  from  western 
universities,  which  were  establishing  chairs  of  music. 

In  1904,  harmony  and  counterpoint  were  offered  for  ad- 
4 


•       98 

mission,  and  in  five  years,  or  by  1909,  ninety-seven  offered  har- 
mony, only  seventy-nine  passing,  while  fourteen  offered  counter- 
point, of  which  nine  passed.  (150.  1909-10:308.) 

By  1911,  eleven  courses  were  offered  under  five  instructors. 
Five  students  were  in  the  graduate  school,  some  being  from  the 
middle  west,  all  working  for  higher  degrees  in  music.  One  grad- 
uate just  became  member  of  the  Boston  Symphony  Orchestra, 
and  another  of  the  same  orchestra  was  taking  work.  One  grad- 
uate became  a  member  of  the  Metropolitan  Opera  Company  of 
New  York.  (150.  1911-12:318.) 

In  1912,  the  plans  for  a  new  musical  building  were  approved. 
In  October  of  the  same  year,  the  department  established  a 
monthly  magazine,  which  represented  the  first  of  its  kind  in  any 
American  college  or  university.  Each  issue  was  to  include  at 
least  one  composition  by  a  Harvard  student.  The  editors  were 
from  the  graduate  and  undergraduate  schools,  and  assisted  by 
graduate  correspondents  in  New  York,  Paris  and  Berlin. 

In  1911,  an  opera  association  was  formed,  which  was  active 
in  raising  an  endowment  for  the  Boston  Opera  House,  for  which 
seats  were  placed  at  the  disposal  of  the  association. 

The  music  clubs,  including  the  glee,  mandolin  and  banjo 
clubs,  took  a  Christmas  trip,  going  as  far  west  as  Omaha.  (1912- 
13:277,458,586.) 

The  appended  table  shows  the  growth  of  the  department: 

1871,  11  enrolled.  1901-02,  110  enrolled. 

1884,  112.  1902-03,  nearly  200. 

Average  of  the  fifteen  years  being  50.  1903-04,  250. 

1887-8,  courses  1  and  2  nearly  doubled.  1906-07,  200. 

1897-8,  harmony  28,  counterpoint  9.  1909-10,  210. 

1900-01,  60  enrolled.  One  year  not  specified,  275  enrolled. 

The  courses  are  as  follows: 

1.  Harmony  and  the  grammar  of  music,  3  hours. 

la.     Advanced  harmony  and  harmonic  analysis,  2  hours. 

2.  Counterpoint,  3  hours. 

2a.     Vocal  composition,  half  course. 

3.  History  of  music,  from  Bach  to  the  present  day:    lectures,  readings 
and  reports  with  illustrations,  3  hours. 

4.  Appreciation  of  music,  study  of  masterpieces  from  the  standpoint  of 
the  listener,  3  hours.    Laboratory  fee  of  $2.50  to  cover  cost  of  scores. 

4a.  Brahms  and  Frank,  studied  with  reference  to  style,  structure  and 
content,  half  course. 

46.     D'Indy,  Faure,  Debussy,  half  course. 

5.  Canon  and  fugue,  half  course. 

FOR  GRADUATES. 

Instrumentation,  3  hours;  six  musicians  used  to  illustrate  the  character- 
istics of  orchestral  instruments,  fee  $10. 

Preliminary  course  in  composition,  devoted  to  smaller  forms,  half  course. 
Students  in  this  course  are  also  advised  to  take  French,  German  and  Italian. 

For  those  who  wish  to  try  for  a  "degree  of  distinction  in  music"  or  for 
"honors  in  music".  Advanced  work  in  original  composition.  For  graduate 


99 

students  in  composition,  or  for  investigating  any  historical  or  literary  subject 
connected  with  the  art  of  music.  Instructors  are  ready  to  assist  in  planning 
and  criticising  such  work. 

Harvard  has  extension  work  in  music. 

The  head  professor  holds  the  doctor's  degree  in  music,  the 
first  one  granted  from  Harvard,  in  that  study;  two  teachers 
hold  the  bachelor's  degree,  and  one  a  master's  degree.  (151. 
1913-14:360.) 

The  work  given  in  the  Harvard  department  of  music  is 
practically  duplicated  in  Radcliffe,  since  the  listing  of  the  sub- 
jects show  similarity.  (152.  1903-04:3,35.) 

The  first  mention  of  music  in  the  Amherst  catalog  occurs  in 
1886,  an  instructor  of  vocal  music  being 
AMHERST  COLLEGE  included  among  the  list  of  faculty  names. 
(153.  1886-96— all  ref.)  This  same  con- 
dition existed  down  to  1895,  when  a  Prof.  Bigelow  was  listed  as 
"instructor  of  German  and  music,"  but  with  no  course  given. 
For  the  first  time,  in  1896,  Prof.  Bigelow  offered  "a  four  hour 
course  in  harmony,  during  the  winter  term,  elective  and  open 
to  juniors  and  seniors,  upon  certain  conditions."  (153.  1896-00 
—all  ref.) 

In  1900,  courses  were  offered  as  follows: 

la.    Rudiments  of  music  and  elementary  harmony. 

16.    Harmony  and  history  of  music. 

Ic.    Harmony  continued.     (153.    1900-03— all  ref.) 

By  1903,  the  courses  assumed  the  form  of: 

1.  Elements  of  music. 

2.  Chord  analysis. 

3  and  4.    History  of  music.     (153.    1903-07 — all  ref.) 
Chorus  and  orchestration  were  spoken  of  for  the  first  time  in  1907.    (153. 
1907-08:75.) 

As  the  Amherst  courses  stand  now,  they  consist  of: 

1,  2.    Theory  of  music,  harmony  and  counterpoint. 

3.  4.    The  art  of  music,  both  courses  being  elective  for  sophomores, 
and  are  three  and  two  hour  courses. 

5,  6.  The  musical  dramas  of  Richard  Wagner,  as  many  as  time  per- 
mits, the  course  being  also  available  as  a  major,  in  German.  It  is  a  two 
hour  course  and  elective.  Pianos  and  an  orchestrelle  are  at  the  disposal 
of  the  students  in  those  courses. 

7,  8.    Chorus  and  orchestra,  each  meeting  one  evening. 

Prof.  Bigelow,  whose  name  is  identified  with  the  growth  of 
the  department,  both  as  German  instructor  and  instructor  in 
music,  teaches  the  classes. 

During  the  school  year,  two  large  works  are  given  by  the 
combined  courses  of  Amherst  and  Smith  colleges.  Two  rehearsals 
are  required  a  week,  the  same  number  of  absences  being  allowed 
as  in  other  courses.  Credit  for  work  in  chorus  or  orchestra  is  as 
follows:  Four  semesters  of  such  work  is  credited  as  a  semester 


100 

course.    Students  with  good  voices  may  become  members  of  the 
college  choir,  for  which  a  renumeration  is  given.     (154.) 

The  study  of  music  exists  upon-  the  curriculum,  under  the 
same  condition  as  other  subjects,  no  extra  tuition,  crediting 
toward  the  bachelor's  degree,  with  entrance  credit  in  harmony 
and  counterpoint.  The  average  enrollment  is  eighty,  the  aim 
being  cultural.  (415.) 
rr  APK-  TTNTWRQITTY  Clark  University  has  no  department  of 

DIVERSITY      mugic       (416) 

Smith  College  opened  its  doors  to  the  student  body  in  the 

fall  of  1875,  with  some  music  taught  from  the 

SMITH  COLLEGE     first.    A  professorship  was  established  in  1877. 

(417.)    By    1891,   the   earliest  catalogs  which 

were  available,  a  splendidly  working  department  was  in  evidence. 

The  aim  was  to  provide  the  best  facilities  for  any  branch  of 
theoretical  or  practical  music.  Admission  to  the  school  of  music 
required  a  high  school  education,  and  the  following  requirements 
in  music:  Notation,  including  theory  of  rhythm,  tonality,  trans- 
position and  modulation,  and  one  of  either  piano,  including 
knowledge  of  Czerny,  Mendelssohn's  songs,  the  easier  Beethoven 
sonatas,  or  voice,  including  mastery  of  Concone's  or  Marchesi's 
vocalises,  Mendelssohn's  songs,  or  organ  with  a  knowledge  of 
Stainer's  Organ  Method  and  Schneider's  Pedal  Studies,  arranged 
by  N.  H.  Allen. 

Academic  students  could  elect  music  under  the  same  condi- 
tions as  other  electives,  but  must  give  nine  hours'  practice  per 
week,  inclusive  of  work  in  harmony.  Three  hours  of  practice 
were  equivalent  to  one  hour  of  regular  recitation. 

College  course  of  study  leading  to  the  bachelor  of  music 
degree  included  one  year  of  harmony,  two  years  of  composition, 
counterpoint,  history  of  music,  biography,  aesthetics,  church 
music,  with  an  applied  study,  about  on  a  par  with  the  ordinary 
private  conservatory.  In  addition,  two  years  of  academic  studies 
were  required,  including  one  year  each  of  Latin,  mathematics, 
English  literature  and  German.  The  course  required  three 
years.  The  tuition  for  a  year  in  any  applied  study  with  two 
weekly  lessons  was  $100,  ensemble  $40,  interpretation  in  classes 
$25,  harmony  and  composition  in  class  $20.  In  addition  to  this, 
music  students  also  paid  $25  to  $100  a  year,  according  to  the 
number  of  studies,  for  any  work  taken  in  the  academy.  (155. 
1891-92:22.) 

The  intellectual  culture  derived  from  music  was  considered 
the  equivalent  of  that  from  other  studies,  credit  being  equal  to 
laboratory  work.  At  this  early  date,  there  were  nine  on  the 
faculty,  one  member  holding  the  A.  B.  degree.  (155.  1891-92: 
6,26.) 

In  1892,  there  were  thirteen  teachers  in  the  department,  the 
courses  being  the  same.  (155.  1892-93:23,27.) 


101 

For  the  first  time,  1896,  no  student  was  admitted  in  the 
department,  who  was  not  regularly  enrolled  as  a  member  of 
Smith  College.  (155.  1896-97:41.) 

The  appended  studies  were  listed  in  the  academic  depart- 
ment, the  school  of  music  remaining  unchanged : 

1.  History  of  music,  lectures,  one  hour  p^r  week. 

2.  Harmony  and  rudimental  composition  in  three  grades,  one  hour, 
$20  fee  per  year. 

3.  Higher  composition,  fugue  and  orchestration,  one  hour,  $20  fee 
per  year. 

4.  Criticism  and  interpretation,  lectures  one  hour. 

5.  Sacred  music,  lectures  and  rehearsals,  one  hour. 

6.  Musical  literature  and  repertoires,  illustrated  lectures,  one  hour, 
$10  fee,  not  elective.     (155.     1896-97:33,41.) 

The  number  of  music  courses  in  the  academic  department 
increased  from  six  to  eight  in  the  following  year,  with  little  other 
change.  (155.  1897-98:37,44,48.) 

A  few  changes  were  made  in  the  courses  in  1899,  without  any 
great  differences,  however.  (155.  1899-00:88,95.) 

A  new  course  worthy  of  mention  in  1900,  was  "the  scientific 
aspects  of  music,"  a  course  upon  physics  and  the  mechanics  of 
music,  including  tonal  acoustics,  construction  of  instruments, 
theory  of  rhythm,  and  intended  for  those  who  wished  knowledge 
of  music  apart  from  the  art  itself.  (155.  1900-01:57.) 

Another  very  interesting  course  was  added  the  following  year, 
namely:  "The  relation  of  art,  especially  of  music  to  character 
and  culture."  There  were  nine  teachers  by  this  time,  two  holding 
doctor  of  music  degree.  (155.  1902-03:62.) 

In  1903,  all  the  music  was  thrown  into  the  academic  depart- 
ment, and  the  school  of  music  abolished  as  such,  placing  the 
study  upon  the  curriculum  without  any  distinction.  Twenty 
full  courses  were  offered,  which  covered  the  different  phases  of 
composition,  musical  appreciation,  public  school  music  and 
practical  music. 

The  usual  applied  subjects  were  offered.     (155.    1903-04:55.) 

A  'cello  teacher  was  added  in  1905,  with  a  general  strengthen- 
ing of  higher  courses,  and  dropping  of  elementary  studies.  (155. 
1905-06:62.) 

By  1906,  the  study  of  piano  was  differentiated  into  separate 
periods,  schools  or  forms  as  the  case  might  be.  (155.  1906-07:65.) 
Voice  was  treated  in  the  same  manner,  the  following  year. 

A  course  in  chamber  music  was  added  with  required  reading, 
and  combined  with  the  study  of  practical  music.  (155.  1908- 
09:72.) 

For  the  first  time,  in  1911,  the  requirements  in  music  as 
entrance  credit  were  printed  in  the  catalog,  in  place  of  the  usual 
announcement,  that  such  might  be  obtained  upon  request  of  the 
registrar.  One  year  of  systematic  harmony  could  be  offered,  or 


102 

half  as  much  harmony  and  some  ability  in  voice  or  on  somei 
instrument.  Piano  required  the  easier  sonatas  of  Haydn  and 
Mozart.  The  same  general  knowledge  was  required  if  othen 
applied  subjects  were  offered.  No  certificates  of  any  music 
school  were  accepted,  an  examination  being  required.  Fifteen 
teachers  were  employed  upon  the  force.  (155.  1911-12:43,83.) 

The  present  requirements  of  music  as  entrance  credit  are 
similar  to  those  given  in  1911,  just  preceding. 

The  faculty  consists  of  seventeen  teachers,  four  hoMing  a 
bachelor's  degree,  one  a  master's  degree.  Twelve  theoretical 
courses  are  given,  in  applied  music,  piano,  organ,  violin,  violon- 
cello and  voice  are  taught.  The  usual  ensemble,  sight  singing 
and  music  classes  for  strings  are  given.  For  college  credit,  the 
work  must  be  advanced  equivalent  to  entrance  requirements  in 
music  (155.  1914-15:39,86.) 

One  short  course  is  given  for  work  in  public  school  music 
under  a  specialist.  The  department  keeps  pace  with  the  general 
enrollment,  being  about  one-fourth,  or  four  hundred  in  music 
courses,  as  against  sixteen  hundred  fifty,  the  total  registration  for 
this  year.  (417.) 

A  striking  feature  of  the  enrollment  of  students  is  that  in 
earlier  years,  special  music  students  comprised  half  or  more  of] 
the  students  taking  music.  By  1906,  only  four  special  music 
students  remained,  the  rest  being  regular  academic  students. 
The  specials  disappeared  as  soon  as  only  regularly  registered 
college  students  were  admitted  to  the  department.  The  increase 
of  academic  students  in  the  music  classes  from  1891  to  1914  was 
from  seventy-five  to  four  hundred. 

As  early  as  1889,  Wellesley  College  had  twelve  teachers  oni 
the  faculty,   and   offered   work  in   tonic 

WELLESLEY  COLLEGE     sol  fa,  sight  singing  and  harmony,  with 
lessons  in  voice,  piano,  violin  and  guitar, 

there  being  thirty-eight  music  rooms,  with  forty-three  pianos  in 
use.  In  the  classical  and  scientific  courses,  musical  history, 
theory  and  composition  were  listed,  and  open  to  juniors  and 
seniors. 

Completion  of  either  of  the  following  courses  gave  a  diploma 
from  the  school  of  music: 

1st  course  2d  course  3d  course 

Piano 5  years  Organ 5  years  Voice 5  years 

Harmony 2  Harmony 2  Harmony 2 

History History History 

Modern  language .  3  Modern  language .  3  Modern  language. 3 

(Italian  obligatory) 

Bible  study 4  Bible  study 4  Bible  study 4 

The  scientific  and  music  courses  combined,  was  a  five  year 
course,  and  led  to  a  college  degree.  Courses  could  be  selected 
from  applied  music,  by  special  permission.  All  students  must 
meet  entrance  requirements,  but  harmony  was  not  yet  required. 


103 

There  were  five  graduates  from  the  five  year  course  in  1890. 
(161.  1889:90— all  ref.) 

By  1896,  students  in  the  regular  music  course  were  required 
to  take  two  academic  studies,  including  a  Bible  course.  (161. 
1896-97:64.) 

A  bachelor  of  music  course  had  been  laid  out  as  early  as 
1889.  (161.  1889-90:38.) 

In  1903,  those  not  candidates  for  a  degree,  but  specialists 
in  music,  were  required  to  pass  admission  requirements,  and 
academic  work  must  be  carried.  In  general,  the  course  required 
four  years.  (161.  1903-04:107.) 

At  the  present  time,  the  courses,  include  musical  theory, 
foundation  principles,  harmony,  interpretation,  applied  harmony, 
development  of  the  art  of  music,  applied  history,  counterpoint, 
applied  counterpoint,  musical  form,  applied  form,  history  of 
music,  the  symphony  from  Haydn  to  the  present,  free  composition 
and  Beethoven  and  Wagner. 

A  fee  of  $5  is  attached  to  applied  harmony  and  applied 
history,  and  $2.50  to  applied  form  and  applied  counterpoint. 

Courses  in  theory  and  history  count  toward  the  bachelor's 
degree,  without  previous  knowledge. 

Practical  lessons  are  offered  in  pianoforte,  organ,  violin  and 
voice,  in  order  to  encourage  students  to  acquire  a  better  tech- 
nique in  theoretical  work.  Applied  music  is  elective,  and  does 
not  count  toward  a  degree.  Candidates  for  the  bachelor's  degree, 
who  propose  to  spend  only  four  years  in  college,  may  take  applied 
music,  by  consent  of  the  dean  of  the  college  and  department  of 
music.  Such  students  must  take  theory.  Five  years  are  required, 
to  obtain  both  the  college  degree  and  the  certificate  from  the 
music  department. 

Music  specials  are  required  to  take  from  six  to  nine  hours 
academic  work,  including  musical  theory.  If  candidates  for  the 
music  certificate,  modern  languages  must  be  included  in  the 
academic  study.  Upon  entering,  the  student  must  have  acquired 
the  fundamental  technique  of  the  chosen  specialty. 

Tuition  for  the  college  year  in  applied  study  is  $100. 

The  department  has  eight  instructors,  one  holding  a  doctor 
of  music  degree,  two  having  a  master's  degree  and  one  a  bachelor's 
degree.  (161.  1914-15:130,156.) 

Tufts  College  established  a  chair  of  music  in  1895.    It  offers 

opportunity  to  gain  a  knowledge  of  musical 

TUFTS  COLLEGE     history,  and  of  the  principles  of  composition,  as 

a  basis  for  practical  work  in  music  or  in  musical 

criticism.    The  subjects  studied  are  elements  of  theory,  harmony, 

general  history  of  music  and  musical  appreciation,  the  courses 

being  complete  throughout. 

The  college  gives  both  entrance  credit  and  credit  toward  a 
degree,  and  music  ranks  with  other  subjects  upon  the  curriculum. 


104 

One  instructor  is  employed,  and  the  enrollment  varies  from 
twenty  to  fifty  students,  in  different  years.  No  provision  is 
made  for  training  of  public  school  music  teachers  or  supervisors. 

A  prominent  feature  is  a  careful  and  systematic  use  of  four 
automatic  players,  and  over  a  thousand  rolls,  which  are  a  splendid 
collection  of  composition.  The  college  has  out  a  sixteen  page 
booklet  of  these  rolls  used  in  the  Tufts  College  music  room,  with 
a  nicety  of  tabulation  which  makes  them  very  accessible,  even 
to  the  students. 

Several  musical  organizations  form  a  strong  feature  of  the 
musical  college  life,  and  are  an  integral  part  of  the  department. 
(418.  160,  p.  140.  1907.  1913.) 

As  early  as  1889,  Mt.  Holyoke  College  had  elocution  or  vocal 
music  offered  through  three  years  of  the 

MT.  HOLYOKE  COLLEGE  course,  one  hour  a  week  as  an  elective. 

All  students  had  regular  lessons  in 

choral  classes.  Private  instruction  was  available  in  voice  or 
piano,  at  $15  for  twenty  lessons.  (158.  1889-90:5,28,38.) 

The  following  year,  music  could  be  elected  in  the  junior  year, 
after  passing  an  examination  on  the  rudiments,  requiring  about 
one  year  of  previous  study.  A  musical  elective  required  piano, 
and  with  harmony  included  six  hours'  practice.  Three  practice 
hours  were  the  equivalent  of  one  hour  of  recitation. 

Grade  A  piano  comprised  Cramer  1st  book,  Bach  Two  Part 
Inventions,  and  other  material  of  the  same  grade.  Grade  B 
included  Czerny  Etudes  Op.  740,  Cramer  2d  and  3d  books, 
Heller  Art  of  Phrasing,  Bach  Three  Part  Inventions. 

A  footnote  read  to  the  effect  that  the  department  intended  to 
put  in  a  three  year  music  course  similar  to  that  of  schools  of 
music,  as  soon  as  facilities  permitted.  (158.  1890-91:31.) 

A  department  of  music  was  established  in  1891,  as  a  necessity 
for  "students  who  are  seeking  a  well  rounded  education."  The 
aim  was  to  furnish  the  best  facilities  for  the  study  of  piano, 
organ,  violin  and  voice,  with  theory  and  interpretation,  either  as 
a  special  course  for  those  not  connected,  or  as  an  elective  for 
college  students.  Outside  applicants  had  to  be  high  school 
graduates.  The  examination  in  practical  music  had  the  following 
grade  of  difficulty:  Piano  required  Czerny,  Cramer,  Mendels- 
sohn's songs,  and  Haydn  and  Mozart's  sonatas.  Organ  required 
Stainer's  Organ  Manual.  Voice  students  had  to  show  mastery 
of  Marchesi's  Vocalises,  simple  Schubert  and  Franz  songs. 
Violin  required  C.  N.  Allen's  Etude  Album.  After  the  first  year, 
students  could  elect  any  branch  of  music  for  which  they  were 
qualified. 

The  tuition  in  any  applied  branch  for  the  year,  one  hour  a 
week  was  $50;  harmony  or  theory  in  classes  was  $15.  (158. 
1891-92:18.) 

The  department  employed   four  teachers  by   1893.      (158. 


105 

1893-94:19,42.)  A  new  head  professor  took  up  the  work  the 
following  year,  (158.  1894-95:20.),  resulting  in  more  stress 
upon  sight  singing  and  voice  training  in  classes.  (158.  1895- 
96:25.) 

Entrance  examination  in  music  is  spoken  of  in  1897,  while  a 
distinction  is  made  between  academic  students  and  special  music 
students.  The  former  were  allowed  to  elect  music  without 
previous  preparation;  the  latter  were  required  to  take  the 
examination  as  given  in  1891  requirements.  Regular  college 
students  were  obliged  to  take  one  year  of  harmony  during  the 
academic  course,  if  music  were  elected. 

The  classes  in  voice  training  and  sight  reading  •  aimed  to 
prepare  pupils  to  teach  music  in  the  public  schools.  (158.  1897- 
98:12,46.) 

In  1900,  only  regular  academic  students  were  admitted  in  the 
music  department,  thereby  doing  away  with  the  non-academic 
music  specialist.  The  courses  of  instruction  included  harmony, 
counterpoint,  history  of  music  and  biography.  (158.  1900-01:54.) 

From  1903,  those  who  took  the  full  course  in  music  were 
expected  to  give  a  program.  (158.  1903-04:75.) 

The  new  courses  for  1907  were  appreciation  one  hour  for  the 
year,  and  pedagogy  for  public  school  work,  two  hours  for  one 
year.  (158.  1907-08:68.) 

Eight  hours  of  practical  music  could  be  counted  toward  a 
degree  in  1908,  if  it  included  two  hours'  harmony.  A  teachers' 
course  for  supervisors  and  chorus  conducting  was  new.  One 
unit  was  specified  as  the  allowed  entrance  credit  for  music. 

The  total  college  enrollment  had  increased  from  two  hundred 
sixty-seven  in  1890,  to  seven  hundred  twenty  in  1906,  with  four 
teachers  offering  the  work  in  music.  Tuition  remained  stationary 
at  all  times.  (158.  1908-09:8,58,80.) 

Boston  University  gave  the  first  work  in  music  in  1904.     A  two  hour 
course  of  harmony  was  given  through  a  year.    A  lecture 

BOSTON  UNIVERSITY     course  was  given  also  upon  history  of  music,  illustrated 
by  vocal  and  instrumental  selections,  one  hour  for  one 
semester.     (156.     1904:66.) 

By  1910,  the  following  courses  were  given:  Appreciation  of  music,  analyt- 
ical study  of  masterpieces,  history  of  music,  harmony  and  counterpoint — five 
courses  in  all.  Harmony  and  counterpoint  were  spoken  of  as  being  allowed 
ior  college  entrance.  (156.  1910:54,94.) 

In  1912,  advanced  harmony  and  a  course  in  theory  and  practice  of  teaching 
music  in  public  schools  were  added,  other  courses  remaining  the  same.     No 
provision  is  made  for  practical  music,  nor  is  it  recognized  in  entrance  credit 
up  to  the  year  of  1913.     Two  teachers  are  employed.     (156.    1912-13:37,68.) 
Williams  College  has  an  instructor  listed  as  director  of 
WILLIAMS  COLLEGE     music,  but  with  no  assigned  classes  in  music.    The  sup- 
position is  that  his  duty  consists  of  acting  as  chapel 
organist.     (157.) 

Phillips  Academy   at  Andover,  one  of  the  smaller  schools,  has  one  in- 
structor  for   music   and   Bible   study.      Opportunity   is 
PHILLIPS  ACADEMY     given  for  study  in  piano  or  organ.     Harmony  is  taught 
also.     Those  who  wish  to  present  music  for  admission, 


106 

may  have  a  class  formed  in  harmony,  and  counterpoint,  if  enough  wish  the 
work.     (159.    1913-14:45.) 

RHODE  ISLAND. 

A  music  department  was  put  in  Brown  University  in  1908, 

and  consisted  of  a  course  called  the  "evolu- 

BROWN  UNIVERSITY    tion  of  modern  music."    Lectures,  assigned 

readings  and  papers  constituted  the  work. 

The  course  was  intended  to  give  appreciation  and  interpretation, 

with  a  minimum  technique.     It  was  a  three  hour  course  for 

sophomores,  juniors  and  seniors.     No  knowledge  of  music  was 

necessary. 

The  women's  college  of  Brown  University  had  the  same 
course.  (162.  1908-09:141,235.) 

By  1912,  the  curriculum  had  expanded  to  an  elementary 
harmony  and  an  advanced  harmony  course,  and  a  three  hour 
opera  course,  open  to  all  but  freshmen.  No  previous  knowledge 
was  necessary  in  the  last  course.  (162.  1912-13:133,232.) 

"Evolution  of  modern  music/'  was  included  in  1913,  with 
lectures  illustrated  on  the  piano,  assigned  readings  and  papers, 
designed  to  give  appreciation  and  interpretation,  with  the  least 
technical  detail.  No  previous  knowledge  was  necessary,  and  the 
course  was  elective  for  all  but  freshmen.  (162.  1913-14 :124,224.) 

By  correspondence,  comes  the  information  that  "for  quite  a 
few  years  the  university  has  had  no  regular  department  in  music, 
but  has  offered  each  year  one  or  two  courses  conducted  by  in- 
structors holding  positions  in  other  institutions  or  in  the  city." 
During  the  present  year,  one  of  the  church  organists  is  conducting 
a  course  in  appreciation.  Mr.  Macdougal  gives  also  an  extension 
course  upon  "the  song  and  song  composers,"  dealing  with  Great 
Britain  and  Germany. 

The  same  credit  is  given  toward  a  degree  as  for  other  studies. 
(420.  162a.) 

RHODE  ISLAND  COLLEGE    The  Rhode  Island  State  College  has  no  department 
of  music.     (421.) 

CONNECTICUT. 

A  chair  of  music  was  founded  in  Yale  University  in  1894.    In 
five  years  the  enrollment  reached  a  hundred. 
YALE  UNIVERSITY     Courses  were  offered  in  harmony,  counter- 
point,   composition,    history    of    music,    in- 
strumentation and  free  composition.    During  the  year,  a  graduat- 
ing student  published  a  male  chorus  for  orchestra. 

Six  lectures  were  given  the  same  year.  Attention  was  drawn 
to  the  crediting  of  practical  music  "if  it  is  to  be  encouraged  in 
undergraduates."  Parker,  the  well  known  composer,  was  chosen 
head  professor.  (163.  1899-00:71.) 


107 

During  1900,  two  programs  of  original  compositions  were 
given  The  faculty  also  granted  credit  for  practical  work  done 
fn  dass  room.  (163.  1900-01:98.)  Two  students,  candidates 
for  bachelor  of  music  degree,  produced  original  composition. 

'(16In  1902  "  there  'were  forty-three  students  in  applied  music. 
The  completion  of  the  hall  gave  added  resources  A  large  choral 
force  was  to  be  organized  from  the  city  and  school,  and  it  was 
further  suggested  that  a  large  male  chorus  be  formed.  (163. 


* 

An  original  fugue  for  organ,  as  thesis  for  the  bachelor  of  music 
degree,  came  out  in  1903.  (163.  1903-04:171.) 

The  following  year,  a  new  course  m  advanced  orchestration 
and  conducting  was  outlined. 

Demands  began  to  come  in  to  the  college  from  western 
universities  for  teachers  of  music,  with  salaries  ranging  from 
$1000  to  $3,500.  (163.  1904-05:171.) 

The  year  1905  was  marked  by  a  desire  "to  encourage  teachers 
of  music  in  public  schools."  A  hope  was  expressed  of  being  able, 
very  soon,  to  cooperate  with  the  Eastern  Educational  Music 
Conference  and  the  New  England  W|S*k?2«i£f^W*1  of 
which  were  working  along  this  line.  (163.  1905-06:163.) 

The  following  table  shows  the  enrollment  for  each  year: 


1892-93  .  .  . 
1893-94  .  .  . 
1894-95  .  .  . 
1895-96  .  .  . 
1896-97  .  .  . 
1897-98  .  .  . 

...30 
...30 
...25 
...53 
...76 
...70 

1898-99 
1899-00 
1900-01 
1901-02 
1902-03 

.76 

1903-04  .  . 

...171 

1908-09  .  . 

.  .  170 

'76 

1904-05.  . 

.  .168 

1909-10.  . 

..159 

.126 

1905-06.  . 

...175 

1910-11.  . 

.  .  .  172 

75 

1906-07  .  . 

.  ..165 

1911-12.  . 

..173 

.110 

1907-08  .  . 

.  ..199 

1912-13.  . 

.  .  .  164 

The  above   enrollment   was   distributed   as   follows   in   the 


ditlerent  colle^ 

res: 
Graduates 

Academic 
undergraduates 

Regular 
or  specials 

Other 
departments 

1900-01  

9 

59 

59 

40 

1Q09  AO 

1 

61 

'iO 

•  • 

JL«7vu  UO  

7Q 

1903-04  
1904-05  
1905-06  
1906-07  
1907-08  
1908-09  .  . 

.  .3 

...7 
...7 
...3 
2 
2 

95 
70 

74 
56 
95 
58 

1  «7 

91 
88 
95 
91 
99 

'9 
6 
11 
11 
11 

1909-10  
1910-11  
1911-12 

2 
..'  .5 
2 

59 
66 
68 

89 
94 
96 

7 
7 

1912-13.  . 

..1 

52 

106 

108 


Distribution  in  the  different  studies: 


Strict              History 

Harmony 

Counterpoint        composition        of  music 

1899-00.. 

34 

16 

12                     51 

1900-01  

32 

16 

13                      60 

1902-03  

18 

14 

9                      55 

1903-04  

51 

12 

16                      74 

1904-05  

42 

30 

8                     70 

1905-06  

38 

28 

19                      10 

1906-07  

45 

23 

20                     47 

1907-08  

30 

15 

15                      77 

1908-09  

41 

27 

14                      34 

1909-10  

44 

25 

15                     52 

1910-11  

..46 

22 

16                     55 

1911-12  

....49 

23 

17                     50 

1912-13  

...49 

28 

15                     46 

Free 

Advanced 

Instrumentation 

composition        orchestration 

1899-00  

...10 

11 

1900-01  

...   7 

7 

1902-03  

...6 

6 

1903-04  

...   8 

7 

1904-05  

.  .  .10 

10 

1905-06  

14 

72 

1906-07  

..11 

7 

1907-08  

..   9 

7 

1908-09  

.   6 

8 

< 

2 

1909-10  

...8 

10 

1910-11  

...16 

11 

1911-12  

...17 

11 

1912-13  .  . 

..13 

11 

It  will  be  noted  that  the  enrollment  increased  very  rapidly 
up  to  1900,  after  1902  remaining  quite  constant.  The  great 
uniformity  of  registration  in  all  the  courses,  from  the  beginning 
down  to  the  present  is  very  unusual. 

Mention  should  be  made  of  the  large  number  of  symphony 
concerts  and  others,  all  of  first  rank,  and  under  the  auspices  of 
the  university,  which  are  given  yearly. 

The  appended  table  gives  the  enrollment  in  the  applied 
courses: 

Total  Piano  Organ  Violin  'Gello  Voice  Ensemble 

1903-04 87           60  17             12 

1904-05..            ..115           60  25             13             5             14 

1905-06 118     59  27     14     4     13  12 

1906-07 112     53  25     15     4     21  8 

1907-08 116     57  27     15     6     23  14 

1908-09 126     64  29     11     4  31  12 

1909-10 110     58  21     13     4     19  12 

1910-11 122     60  23     13     6  23  15 

1911-12..     ..130     60  21     11     9  32  16 

1912-13..     ..125     72  43     13     8  23  15 

(163— all  ref.) 

The  branches  of  applied  music  show  more  popularity  and 
more  increase  than  those  in  the  theoretical  department. 


109 

Wesleyan  University  in  Connecticut  has  as  yet  only 
WESLEYAN  UNIVERSITY    musical  organizations,   no  attempt  being  made  at 

formal  class  work.     (164.     1913-14:111.) 

TRINITY  COLLEGE    Trinity  College  at  Hartford  also  makes  no  recognition  of 
the  subject.     (165.     1908.) 

NEW  YORK. 

The  department  of  music  in  Columbia  University  was  estab- 
lished in  1896,  by  the  aid  of  the  Robert 

COLUMBIA  UNIVERSITY  Center  fund  for  instruction  in  music.  It 

was  organized  by  Columbia's  first  pro- 
fessor of  music,  Edward  MacDowell,  the  American  composer. 
In  his  report,  President  Butler  explained  that  it  was  no  part  of 
the  plan  of  the  school  to  give  practical  instruction  in  the  fine  arts, 
but  that  the  university  should  give  the  historical,  philosophical 
and  theoretical  instruction,  leaving  to  other  teachers  and  organ- 
izations, the  practical  training  and  apprenticeship,  which  is  a 
necessary  part  of  all  art  education.  (166.  1754-1904:256.) 

In  outlining  the  work,  the  courses  naturally  took  two  divisions: 
1st,  technic  of  musical  composition;  2d,  general  musical  culture. 
The  courses  given  were  general  musical  culture,  practically  a 
history  of  music,  lecture  course  in  theory,  harmony,  etc.,  open  to 
all,  a  more  advanced  course  in  counterpoint,  canon,  choral 
fuguration  and  fugue,  the  most  advanced  being  free  composition 
and  symphonic  form.  (167.  1896-97:110.) 

An  assistant,  a  college  graduate,  was  elected  in  1898.  A 
course  in  harmonic  dictation  and  a  musical  seminar  were  added, 
no  fee  in  either  study.  (167.  1897-98:137.) 

A  conductor  was  appointed  the  next  year,  and  four  divisions 
made  in  the  department:  1st,  technic  of  musical  composition; 
2d,  general  musical  culture;  3d,  musical  dictation;  4th,  practical 
training  in  orchestral  and  choral  music.  A  university  chorus  and 
orchestra  were  organized.  (167.  1899-00:136.) 

The  following  tabulation  shows  the  growth  in  four  years: 

1896-97       1897-98       1898-99       1899-00 

Number  of  teachers 1  1  2  3 

Number  of  courses 3  4  7  9 

Attendance 37  47  127  247 

Volumes  in  library,  approximately ....   0  250  350  500 

(169.     1899-00:291.) 

The  increase  in  attendance  is  very  marked,  as  well  as  the 
increase  in  number  of  courses.  The  figures  demonstrate  the  fact 
that  the  need  for  such  a  department  was  felt,  even  in  a  city  like 
New  York,  where  the  highest  possibility  in  every  art  line  may 
be  realized. 

In  1903,  a  new  course  was  put  in  on  analysis  of  musical  sound. 
With  the  exception  of  chorus,  all  the  courses  were  open  to  both 
sexes.  (167.  1902-03:147.) 


110 

For  1904,  eight  courses  were  offered  in  extension  music  by 
five  instructors.  These  were  given  by  the  regular  teachers  out 
of  school  hours,  for  those  who  were  unable  to  attend  regular 
classes.  Part  of  them  credited  toward  a  degree,  some  were 
merely  lecture  work  and  allowed  no  credit. 

By  1905,  all  courses  counted  toward  the  bachelor  of  arts 
degree,  while  only  counterpoint,  orchestration  and  composition 
counted  toward  the  two  higher  college  degrees.  (167.  1904-05: 
148,459.) 

Mr.  MacDowell  withdrew  in  1903,  and  a  new  head  took  his 
place  in  1904. 

The  Quarterly  made  the  following  statement,  which  shows  the 
expectation  of  the  department  for  future  development:  "Since 
its  separation  from  the  faculty  of  philosophy,  the  chair  of  music 
has  been  without  special  faculty  relationship,  awaiting  the 
formation  of  a  faculty  of  fine  arts.  When  this  is  done,  it  will  be 
possible  for  the  department  to  develop  a  systematic  school  of 
music,  with  approximate  entrance  requirements,  curriculum  and 
degree.  The  correlation  should  be  literature,  psychology,  and 
physics,  with  bachelor  of  music  degree."  (169.  1903-04:437.) 

In  1904,  Columbia  sent  a  delegate  to  two  conferences  at  Smith 
College,  and  one  at  Boston,  for  the  purpose  of  taking  action  in 
regard  to  college  entrance  credit  in  music. 

In  May,  a  program  of  students'  compositions  was  given. 
(169.  1904-05:378.) 

By  1905,  the  courses  reshaped  themselves  into  fifteen  well 
defined  branches,  which  represented  general  courses  as  a  basis, 
and  leading  up  through  theoretical  work  to  higher  composition, 
with  chorus,  orchestral  training  and  dictation  as  a  part  of  the 
department. 

In  extension  teaching,  ten  courses  were  offered  for  credit,  and 
fourteen  lecture  courses  without  credit.  (167.  1905-06:122,437.) 

The  event  of  the  year  1905,  was  the  creation  of  a  school  of 
music  leading  to  the  bachelor  of  music  degree,  with  higher 
degrees  and  a  certificate  of  proficiency  for  non-matriculated 
students.  A  feature  of  the  year  also,  was  a  series  of  twenty-three 
lectures  upon  "the  function  and  meaning  of  music." 

A  member  of  the  faculty  spoke  on  "college  entrance"  at  the 
National  Educational  Association,  with  the  intention  of  con- 
tinuing next  session  upon  "musical  instruction  in  colleges  and 
secondary  schools."  A  number  of  joint  meetings  were  held  with 
the  Eastern  Educational  Music  Conference,  and  New  England 
Educational  League,  which  prepared  the  statement  of  college 
entrance  requirements  adopted  by  the  college  entrance  examina- 
tion board.  (169.  1905-06:311.) 

Three  candidates  enrolled  for  the  bachelor  of  music  degree  in 
1906.  (169.  1906-07:83.)  There  were  seven  the  following  year, 
the  general  registration  remaining  about  the  same. 


Ill 

The  institution  was  in  advisory  relations  during  the  year  with 
a  dozen  colleges  in  all  sections  of  the  country  in  connection  with 
the  establishment  or  development  of  collegiate  chairs  of  music. 
(169.  1907-08:386.) 

In  1910,  the  first  degrees  in  music  were  given  to  two  can- 
didates. The  history  and  theory  classes  enrolled  one  hundred 
seventy-six  students,  with  a  number  more  in  chorus  and  orchestra. 
(169.  1909-10:347.) 

The  year  1912  enrolled  one  hundred  forty-seven,  with  a 
marked  increase  from  the  college  student  body,  especially  in 
harmony.  (169.  1912-13:147.) 

During  1914  and  1915,  an  elementary  and  an  advanced 
course  in  history,  counterpoint,  composition  and  orchestration, 
university  orchestra  and  chorus  are  the  eight  courses  offered  by 
the  Columbia  chair  of  music.  (169.  1914-15:55.) 

The  several  courses  may  be  counted  toward  any  of  the  follow- 
ing degrees:  Bachelor  of  music,  under  the  faculty  of  fine  arts; 
bachelor  of  arts,  and  bachelor  of  science,  under  Columbia  College 
or  Barnard  College;  master  of  arts,  under  the  faculties  of  fine 
arts  and  of  philosophy.  A  course  leading  to  a  certificate  of 
proficiency  has  been  established. 

Requirements  for  admission  to  the  course  leading  to  the 
degree  of  bachelor  of  music  are,  (1)  the  completion  of  sixty- two 
points  or  two  years'  undergraduate  study  in  Columbia,  Barnard, 
or  the  equivalent  elsewhere,  (2)  the  ability  to  play  Bach's  Two- 
Part  Inventions  on  the  pianoforte,  or  pieces  of  like  difficulty  on 
string  or  wind  instruments,  (3)  an  accurate  ear,  and  a  knowledge 
of  the  rudiments  of  music. 

The  requirements  for  admission  to  the  course  for  certificate 
of  proficiency  in  music,  are  the  amount  of  credits  equal  to  ten 
units  from  the  following  subjects,  English  and  one  other  language 
being  required: 

English 3  units  Musical  appreciation 1  or  2  units 

Elementary  Greek 3  Tone  thinking  and  dictation 1 

Elementary  Latin 2  Musical  performance 2 

Elementary  French 2  Elementary  mathematics 3 

Elementary  German 2  Elementary  history 2 

Elementary  Italian 2  Elementary  physics 1 

Harmony 1  Advanced  mathematics 1 

Advanced  history 1  unit. 

In  1915,  the  number  of  units  for  entrance  will  be  increased 
to  fourteen  and  one-half. 

The  candidate  for  a  bachelor  of  music  degree  must  pursue 
courses  amounting  to  seventy-five  points  as  follows: 

a.  (Required.)    All    courses    in    composition    and    criticism 
offered  by  the  school  of  music,  and  a  year  of  each  of  language, 
literature,  history  and  the  fine  arts,  other  than  music. 

b.  (Elective.)    Other  courses,  especially  musical  performance, 
aesthetics,  physics  or  psychology. 


112 

In  addition,  the  candidate  must  submit  a  satisfactory  original 
composition  for  orchestra,  or  with  orchestral  accompaniment, 
and  an  essay  on  a  musical  subject. 

The  candidate  for  the  certificate  of  proficiency  in  music  must 
fulfill  the  same  requirements,  except  that  only  fifty  points  are 
required.  The  same  requirements  are  made  in  regard  to  the 
original  composition  and  the  essay,  as  for  the  bachelor  of  music 
degree.  (169.  1913-14:27.) 

A  feature  of  Columbia  is  the  affiliation  of  Teachers'  College. 

It  is  neither  a  normal  nor  a  university 

TEACHERS'  COLLEGE    department  of  pedagogy,  but  a  professional 

school  for  teachers.     The  school  was 

founded  in  order  that  education  might  be  treated  as  a  science. 
The  educational  administration  is  carried  on  by  departments, 
each  under  a  director,  with  a  full  corps  of  instructors.  (170. 
1900-01:30.  169.  1898-99:342.) 

In  1903,  Teachers'  College  had  an  adjunct  professor  in  music 
and  courses  were  worked  out  looking  to  the  needs  of  the  public 
school  teacher  in  music,  entirely  in  keeping  with  the  character 
of  the  institution.  (167.  1903-04:152.) 

At  present,  a  major  may  be  taken  in  music  leading  to  the 
degree  of  bachelor  of  science  in  practical  arts,  or  in  music  educa- 
tion leading  to  the  degree  of  bachelor  of  science  in  education, 
and  a  diploma  in  teaching  or  supervision. 

In  either  case,  one  hundred  twenty-four  points  are  required 
for  the  bachelor's  degree.  Forty  points  are  required  in  English, 
French,  German,  history  and  hygiene  in  the  general  courses. 
The  technical  group  requires  the  several  courses  in  dictation, 
sight  singing,  acoustics,  history  of  music,  musical  literature  and 
appreciation,  and  elementary  chorus  singing  and  conducting, 
with  applied  branches  in  voice,  piano,  violin  or  organ  to  the 
amount  of  forty-five  points,  leaving  thirty-nine  electives.  The 
special  fees  for  practical  music  are  $25  each  in  piano  or  voice, 
$50  in  organ,  and  $35  in  violin  or  violoncello  for  a  semester. 

Arrangements  are  made  whereby  credit  is  given  for  instruction 
under  approved  private  teachers  of  the  city,  or  in  other  New 
York  institutions.  (170.  1913-14:101.) 

The  courses  are  in  general  of  a  character  to  meet  the  needs 
of  students  with  less  musical  preparation,  and  not  for  the  trained 
musician  or  the  experienced  supervisor.  The  applied  branches 
are  more  elementary,  advanced  students  usually  registering  with 
New  York  artists,  for  which  credit  may  be  obtained,  if  desired. 

In  passing  from  Columbia  to  Cornell  University,  the  first 
musical  courses  on  the  curriculum  were 

CORNELL  UNIVERSITY  in  1896.  One  in  voice  production  and 
vocalization,  and  another  in  anthem  sing- 
ing and  hymnology,  both  of  them  taught  by  teachers  from  the 
city  conservatory.  The  first  was  open  to  all  students,  whether 


113 

musically  trained  or  not;  the  second  could  be  taken  by  those 
who  were  able  to  read  fairly  well.  (171.  1896-97:99.) 

In  1898,  the  only  course  was  one  in  vocal  music,  the  main 
purpose  of  which  was  to  furnish  material  for  the  college  choir  of 
Sage  Chapel.  Attendance  was  also  required  at  weekly  vesper 
services,  the  course  giving  two  hours  credit.  (171.  1898-99:113.) 
It  might  be  stated  that  the  sole  purpose  of  all  the  earlier  years 
of  musical  instruction,  was  for  the  sake  of  this  college  choir. 

The  following  year  an  advanced  chorus  was  added,  which, 
with  the  conservatory  chorus,  sang  at  the  vesper  services.  An 
orchestra  was  organized  with  two  hours  credit.  (171.  1899-00: 
117.) 

The  only  change  in  1900  was  that  the  orchestra  assisted  at 
vesper  services,  while  provision  was  made  to  give  history  of  music 
if  desired.  (171.  1900-01:117.) 

By  1906,  the  courses  tended  definitely  "to  provide  means  for 
general  musical  culture  and  appreciation  rather  than  technical 
or  theoretical  training."  (171.  1908-09:157.)  A  course  in 
harmony  was  added  in  1907. 

The  following  year,  besides  four  choruses,  an  elementary, 
intermediate  choral  and  advanced  choral,  courses  in  harmony, 
advanced  harmony  and  composition  were  given,  with  two  hours' 
credit  each.  This  gave  full  chorus  training,  theoretical  work  and 
orchestral  practice.  (171.  1914-15:34.) 

At  present,  in  addition  to  the  above  courses,  appreciation  of 
music  appears  on  the  curriculum. 

The  strength  of  summer  work  in  music  at  Cornell,  and  the 
educational  tendency,  may  be  seen  in  the  following  courses, 
which  were  given  in  the  session  of  1914,  for  teachers  and  super- 
visors of  music,  the  subjects  being  treated  exhaustively  and 
professionally. 

Full  courses  in  sight  reading,  dictation,  material  and  methods, 
rudiments,  melody,  high  and  normal  school  music,  practice 
teaching,  history  and  current  events,  chorus,  vocal  training, 
composition  and  musical  appreciation.  As  will  be  seen,  no  phase 
is  omitted,  and  the  methods  are  educational  and  purely  pedagog- 
ical, as  the  pamphlet  shows.  The  teaching  was  done  by  thirteen 
instructors  from  the  following  institutions  and  cities:  (172. 
1914:6.) 

The  director  of  music  in  the  public  schools  of  Ithaca,  voice 
teacher  from  New  York  City,  teacher  of  piano  and  theory  from 
Boston,  director  of  music  from  the  public  schools  of  Manchester, 
New  Hampshire,  musical  instructor  in  the  normal  college  of 
New  York  City,  director  of  music  from  Penn  Charter  School, 
Philadelphia,  professor  of  music  from  Colgate  University,  Hamil- 
ton, New  York,  organist  and  teacher  of  theory,  Cornell,  besides 
a  certificated  teacher  from  the  Royal  Albert  Hall  School,  London, 
for  physical  education,  and  one  from  the  London  County  Council, 


114 

also  physical  education  teacher.  (172.  1914:3.)  The  entire 
faculty  were  experienced  teachers  holding  important  positions. 

Two  hundred  twenty-five  supervisors  attended  the  above 
summer  session,  the  average  winter  enrollment  being  about  two 
hundred  seventy-five.  During  the  college  year,  three  instructors 
are  employed,  while  the  aim  is  to  make  music  an  aid  to  liberal 
culture.  (424.) 

Professor  Hollis  Dann  was  made  professor  of  music  in  Cornell 
in  1906,  was  assistant  before  that  year,  and  has  been  instru- 
mental in  bringing  the  department  to  its  present  strength  and 
large  attendance.  Its  growth  began  with  his  leadership.  (171. 
1905-06:138.  1907-08:149.) 

The  university  gives  entrance  credit,  credit  toward  a  degree, 
and  the  subject  ranks  with  other  school  studies.  No  extra 
tuition  is  required  of  the  students.  (424.) 

The  summer  session  now  includes  graduate  courses  which 
have  been  put  in  to  meet  the  demand  of  graduates  who  return 
for  further  study.  The  limit  in  numbers  was  practically  reached 
in  1913,  during  the  summer  session.  (172.  1914:5.) 

The  earliest  available  catalog  of  Vassar  College,  1872,  shows 

eight  out  of  the  forty-two    teachers  as  in- 

VASSAR  COLLEGE    structors  in  the  music  department.     So  that 

even  at  this  early  date,  the  work  was  already 

strongly  established. 

The  instruction  consisted  of  piano,  organ,  voice  lessons  and 
choral  training.  Theory  included  thorough-bass  and  a  course  in 
composition,  if  desired,  while  lectures  were  given  on  the  history 
of  music.  The  total  school -registration  was  four  hundred  eleven 
students.  (177.  1872-73:5,23.) 

The  tuition  for  private  piano  or  organ  lessons,  for  one  year, 
including  two  weekly  lessons  and  one  practice  period  was  $80. 
Voice  study  was  $90,  while  lessons  in  thorough-bass  or  composi- 
tion were  $60.  (177.  1873-74:23,28.) 

Vassar  ranks  among  the  first  of  the  institutions  in  this  country 
to  place  music  upon  a  par,  educationally,  with  other  studies. 
The  following  extract,  quoted  from  the  1874  catalog,  shows  this 
fact  very  clearly: 

"Extra  collegiate  or  art  studies. 

"Students  will  usually  be  able  to  take  one  art  study  in 
addition  to  the  regular  course,  and  are  strongly  advised  to  do  so 
when  they  can,  as  a  valuable  element  of  general  culture.  In  the 
junior  or  senior  years,  after  completion  of  the  more  disciplinary 
studies,  marked  proficiency  in  music  or  the  arts  of  design,  may, 
at  the  discretion  of  the  faculty,  be  accepted  as  an  equivalent  for 
some  one  of  the  prescribed  studies  in  literature  or  science."  (177. 
1874-75:23.) 


115 

To  foster  this  idea  still  more,  an  opportunity  was  offered  every 
student  in  the  regular  course  to  acquire  the  elements  of  vocal 
music  in  class,  free.     If,  however,  a  talented  student  availed 
lerself  of  the  opportunity  of  substituting  music  for  a  regular 
branch,  harmony  was  required.     (177.    1875-76:16,23.) 

A  striking  feature,  traceable  through  many  years,  is  a  set 
imit  of  forty  minutes  a  day  for  practice,  with  the  appended 
explanation  that  ''there  was  a  prevailing  impression  that  little 
would  be  done  of  high  musical  culture  under  such  restricted 
practice,  but  experience  proves  the  contrary.    A  sound  method, 
igid  economy  of  effort,  and  the  disciplinary  influence  of  the 
college,  combine  to  make  the  results  satisfactory,  and  goes  far 
o  prove  whether  a  high  aesthetic  culture  may  be  combined  with 
ntellectual  discipline  in  the  education  of  women/'     (177.    1875- 
1:16,23.) 

In  the  fall  of  1877,  the  department  opened  up  as  a  school  of 
pecial  instruction  under  the  general  supervision  of  the  trustees 
)f  the  college.  Frederick  Louis  Ritter  was  appointed  director. 
?he  courses  were  complete  in  the  theoretical  branches,  and 
ncluded  organ,  piano  and  voice. 

The  fees  for  organ,  piano  and  voice  were  $100,  for  chorus  $10, 
,nd  for  theoretical  studies  in  class  $50  a  year.  (177.  1877-78:38.) 

The  full  course  required  three  years,  but  those  who  possessed 
ome  skill  upon  entering  could  finish  in  less  time.  (177.  1879- 
0:35.) 

In  1881,  there  were  seven  teachers,  one  holding  a  bachelor's 
legree.  (177.  1881-82:5.)  The  following  year,  violin  was 
,dded  to  the  course.  (177.  1882-83:37.) 

By  1B90,  requirements  had  become  more  exacting,  harmony 
nd  counterpoint  obligatory  for  all  special  students.  (177. 
890-91:60.). 

Dr.  Ritter,  the  head  professor,  died  the  following  year, 
tecessitating  a  new  instructor  and  the  result  of  entire  change  of 
onditions.  (177.  1891-92.)  The  special  schools  of  music  and 
rt  were  abolished,  and  these  departments  were  placed  on  a  level 
vith  other  collegiate  work,  as  counting  toward  a  degree.  The 
pplied  arts  existed  also,  but  with  extra  fees,  and  not  counting 
oward  a  degree. 

The  courses  were  open  to  regular  and  special  students  alike, 
ut  no  one  could  enter  who  was  not  prepared  to  meet  the  fresh- 
nan  requirements.  The  purpose  of  the  trustees  was  to  recognize 
tie  true  place  of  these  studies  in  higher  education.  It  was  their 
ntention  "to  provide  the  fullest  facilities  for  those  able  to  meet 
he  requirements."  (177.  1892-93:28.) 

A  footnote  reads  that  the  department  had  been  changed  so 
3cently  as  to  render  some  of  the  work  in  a  formative  stage,  but 
that  it  was  the  intention  of  the  school  to  extend  the  time  allotted 
to  the  study  of  higher  contrapuntal  forms  as  soon  as  possible. 
(177.     1892-93:57.) 


116 

An  addition  to  the  course  was  made  in  1894,  history  of 
dramatic  music,  and  history  of  sacred  music,  besides  the  usual 
history  course.  Otherwise  the  studies  were  about  the  same. 
(177.  1894-95:69.) 

The  following  year  the  schedule  consisted  of  the  structure  of 
music,  applied  harmony  at  the  keyboard,  counterpoint,  applied 
form  or  free  composition,  history  of  music,  historical  form,  inter- 
pretation, choral  club  and  elementary  class  instruction  in  vocal 
music,  the  latter  course  not  counting  toward  a  degree.  The 
customary  applied  forms  were  taught.  (177.  1895-96:58.) 

Of  the  five  instructors  in  1900,  one  held  a  doctor  of  philosophy 
degree  and  two  had  taken  the  bachelor  of  arts  degree.  (177. 
1900-01:57.) 

A  symphony  orchestra  was  spoken  of  in  1904,  while  the 
courses  were  much  the  same  as  before.  (177.  1904-05:40.) 

By  1900,  there  were  seven  teachers  upon  the  musical  faculty. 
(177.  1908-09:51.) 

The  enrollment  for  the  years  in  which  the  music  students  were 
recorded  separately,  was  as  follows: 

Music  Music 

enrollment  Total                                  enrollment  Total 

1877-78 10  347  1885-86..                ..32  292 

1878-79 17  306  1886-87..                 ..44  312 

1879-80 27  303  1887-88..                 ..38  294 

1880-81 27  284  1888-89...               ..52  310 

1881-82 29  297  1889-90 44  321 

1882-83 34  314  1890-91 29  325 

1883-84 40  300  1891-92 50  398 

1884-85 32  272 

It  will  be  noticed  that,  while  the  college  attendance  remained 
fairly  constant,  that  of  the  musical  courses  increased  to  five 
times  as  many  as  in  1877.  After  the  department  was  abolished 
and  placed  on  an  academic  basis,  no  separate  records  were  kept 
for  enrollment  of  music  students. 

As  early  as  1899,  Syracuse  University  had  a  flourishing 
course  of  music  under  the  department  of 

SYRACUSE  UNIVERSITY  fine  arts.  Systematic  and  progressive 

instruction  was  given  in  theory,  history 

and  practice  of  music.  The  piano  was  adopted  as  the  basis  of 
study,  and  was  required  of  regular  students  of  music,  at  least  in 
the  freshman  year,  while  one  year  of  vocal  study  was  required 
of  all  graduates  in  music.  The  necessary  collegiate  branches 
were  physics,  elocution,  rhetoric,  English  literature,  French, 
German,  Italian,  ancient,  mediaeval  and  modern  history,  science 
of  aesthetics  and  general  history  of  fine  arts. 

For  admission,  the  student  must  have  pursued  English 
grammar,  geography,  arithmetic,  American  history  and  physics, 
with  satisfactory  proficiency.  In  music,  the  advancement  had 
to  be  the  equivalent  of  three  years  of  systematic  study  and 
practice. 


117 

The  course  in  piano  had  provision  for  a  three  year  preparatory 
and  a  four  year  collegiate  course.  The  Virgil  practice  clavier  was 
used  in  developing  technic.  Violin,  organ  and  voice  courses  were 
given  also.  Theory  included  harmony,  counterpoint  and  musical 
form  in  classes,  with  history  of  music,  chorus,  orchestra  and 
ensemble  as  well.  Piano  instruction  was  given  in  small  classes. 
Four  instructors  were  employed.  (173.  1899-00:125.) 

Except  for  gradual  growth,  there  was  little  change  up  to 
1906,  when  the  department  had  grown  to  eleven  teachers.  A 
course  in  musical  composition  had  been  added,  as  well  as  a  normal 
course  for  teachers  and  supervisors  in  public,  high  and  normal 
schools.  The  latter  three  year  course  consisted  of  the  following 

studies : 

1st  year  2d  year  3d  year 

Notation  History  of  music  Musical  form 

Terminology  Ear  training  Chorus 

Ear  training  Sight  singing  Acoustics 

Sight  singing  Chorus  Psychology 

Harmony  Harmony  Pedagogy 

Voice  History  of  education  Voice 

Piano  Voice  Piano 

Piano  Practice 
(173.     1900-01:122.     1901-02:132.     1906-07:136.) 

In  1907,  the  normal  course  was  placed  in  the  teachers'  college 
of  education,  and  included  the  following  studies: 

1st  year  2d  year  3d  year 

Harmony  Harmony  Harmony 

Ear  training        Ear  training  Musical  form 

Sight  reading      Sight  reading  Ear  training 

Voice  Voice  Voice 

Piano  Piano  Piano 

English  History  of  music  History  of  music 

Psychology          Pedagogy  Observation  and  practice 
Sociology             Electives:  Italian,        Electives:  Italian, 
French,   German   or     German,    French, 

drawing.  Spanish  or  drawing. 

In  1907,  the  normal  course  was  placed  in  the  teachers'  college 
of  education,  and  included  the  following  studies: 

Chorus  work  was  based  upon  the  "Modern,"  "Harmonic" 
and  "New  Educational"  methods  of  public,  high  and  normal 
school  music. 

Those  who  completed  a  four  year  course  received  bachelor  of 
pedagogy  in  music.  The  added  fourth  year  included  pedagogy, 
English  composition,  aesthetics,  musical  appreciation,  voice,  piano, 
and  modern  language.  There  was  also  a  four  year  course  in  any 
applied  branch,  and  a  four  year  course  in  theory  of  music  and 
composition.  The  regular  music  course,  combined  with  the 
normal  could  usually  be  completed  in  five  years. 

The  tuition  for  applied  music  in  classes  of  three,  one  lesson  a 
week  for  a  year  was  $33.  The  same  with  two  lessons  a  week 
was  $50.  Theory  in  classes  of  three,  two  lessons  a  week,  was  $18. 


118 

Two  lessons  in  organ  was  $60  for  the  year.  (173.  1907-08— all 
ref.) 

In  1913,  the  methods  course  was  based  on  principles  similar 
to  "those  of  Crane  Institute.  Four  systems  were  studied,  "The 
Harmonic,"  "The  Modern,"  "The  Educational"  and  "The 
American."  Practice  'teaching  was  done  in  the  high  school. 

Bachelor  of  pedagogy  in  music  required  work  in  English, 
elocution,  acoustics,  modern  language,  history,  logic,  psychology, 
history  of  education,  philosophy  of  education,  neurology,  educa- 
tional psychology,  school  organization  and  management  and 
general  methodology.  (173.  1913:161,292.) 

With  the  development  of  the  normal  course,  Syracuse  Uni- 
versity now  has  complete  courses  in  applied  music,  theoretical 
work,  with  unusually  strong  specialization  in  the  normal  or 
training  department  for  teachers. 

The  University  of  Rochester  places  little  emphasis  upon  the 

subject.  A  member  of  the  faculty 

UNIVERSITY  OF  ROCHESTER  is  acting  instructor  for  men's  glee 

club.  (174.  1910-11:10.  1911-12.) 

The  College  of  the  City  of  New  York  gives  two  courses. 
(1)  History  and  appreciation  of  music, 
COLLEGE  OF  THE  which  consists  of  lectures  with  musical 
CITY  OF  NEW  YORK  illustrations,  recitations  and  prepared 
papers.  No  previous  knowledge  is  neces- 
sary. Two  credits  are  given.  (2)  A  study  of  modern  music,  also 
with  illustrations  and  lectures,  a  thesis  being  required  of  each 
student  upon  some  assigned  phase.  Credit  is  two  hours.  The 
department  conducts  weekly  public  lectures  upon  appreciation 
of  music,  while  a  glee  club  and  a  student  orchestra  are  maintained. 
(175.  1913-14:73.) 

New  York  University  offers  courses,  but  the  department  "is 
in  a  tentative  stage."  (423.)  (1)  Mus- 

NEW  YORK  UNIVERSITY  ical  appreciation  is  taught  in  the  usual 

form  with  two  credits.  (2)  The  modern 

opera  with -special  emphasis  upon  Wagner's  "Ring  of  the  Nibel- 
ungen,"  two  credits  given.  (3)  An  elementary  course  in  harmony 
and  ear  training,  giving  one  credit.  Only  the  third  course  requires 
previous  musical  knowledge.  (176.) 

The  institution  does  not  grant  credit  for  entrance,  but  does 
so  toward  a  degree,  while  the  subject  ranks  with  other  studies. 
The  courses  have  been  in  only  since  1912,  and  are  mainly  cultural. 
There  is  no  extra  tuition  in  the  department.  One  instructor  is 
employed,  with  eight  or  nine  registered  students.  (423.) 

In  taking  up  the  subject  in  Wells  College,  we  find  a  general 
WELLS  COLLEGE    musical  course  intended  for  a  liberal  education.    The  courses 
are  as  follows: 


119 

Appreciation 1  hour        Opera 2  hours 

Elementary  music  course 1  History  of  church  music ....  2 

Harmony 3  History  of  pianoforte 2 

Counterpoint  and  composition .  2  Musical  sound 1 

Analysis  and  interpretation ...  0  Elements  of  musical 

History  of  music  and  musicians .  2  aesthetics 1 

All  the  above  courses  count  toward  an  academic  degree. 
Systematic  instruction  is  given  in  piano,  organ,  violin,  viola,  'cello,  vocal 
music,  choral  and  sight  singing,  chamber  music,  and  in  methods  of  teaching 
music.    These  applied  studies  count  toward  a  special  musical  diploma.     The 
latter  is  a  four-year  course,  exclusively  musical  subjects,  with  the  exception 
of  one  year  of  Italian,  with  voice  as  a  major  study.     (178.     1913-14:54,62.) 
William  Smith  College  treats  music  as  a  cultural  rather  than  as  a  profes- 
sional subject.     Six  courses  are  offered  in  history 

WILLIAM  SMITH  COLLEGE     and  theory  of  music,  which  credit  toward  a  degree. 
The  courses  are:    history  of  music,  appreciation, 

elementary  theory,  harmony,  counterpoint,  pedagogy,  which  has  to  do  with 
the  supervision  of  music  in  primary  and  secondary  schools,  one  hour  a  week 
being  devoted  to  each  of  the  above  subjects.  (179.  1913-14:56.) 

Some  of  the  colleges  which  do  not  recognize  music 

MISCELLANEOUS  COLLEGES    are:     Colgate  University,   Saint  Lawrence  Uni. 

versity,  Hobart  College  and  Union  College.    (181- 
182.     183.) 

NEW  JERSEY. 

Princeton  University  has  no  chair  of 

PRINCETON  UNIVERSITY    music,  but  maintains  a  musical  library. 

(184.     1913-14:289.) 

Rutgers  College  offers  as  a  prize,  the  income  from  $3000,  which  is  won 

by  competition.     The  winner  acts  as  leader  in  musical 

RUTGERS  COLLEGE    exercises,  in  which  the  college  engages  as  a  body.    Other 

than  this,  the  school  gives  no  place  to  the  study.     (185.) 

PENNSYLVANIA. 

A  chair  of  music  was  established  in  the  University  of  Pennsyl- 
vania in  1875,  along  the  theoret- 

UNIVERSITY  OF  PENNSYLVANIA  ical  lines.  (426.)  The  require- 
ment for  entrance  was  a  knowl- 
edge of  the  rudiments,  and  the  ability  to  play  some  instrument. 
The  course  was  a  special  one  and  has  always  remained  so.  The  first 
year  offered  harmony,  the  second  counterpoint  and  composition, 
and  the  third  orchestration.  The  fees  were  $30  a  year. 

By  the  year  1890,  a  certificate  of  study  was  given  to  one  who 
completed  the  full  course  and  produced  as  a  thesis  a  satisfactory 
original  composition.  It  was,  furthermore,  the  intention  of  the 
department  to  hold  a  commencement  for  the  purpose  of  having 
a  certain  number  of  the  theses  performed  on  that  day. 

Those  who  received  such  certificates  could  try  for  the  bachelor 
of  music  degree  under  the  following  conditions:  (1)  A  written  or 
oral  examination  in  harmony,  counterpoint  and  composition,  by 
three  examiners  appointed  by  the  professor.  (2)  An  original 


120 

composition  in  the  form  of  a  cantata  for  soli  and  chorus,  with  an 
accompaniment  of  at  least  a  quintette  of  strings.  (3)  This  com- 
position must  require  twenty  minutes  to  perform,  must  contain 
a  four  part  fugue,  and  the  accompaniment  must  be  independent, 
except  in  the  fugue.  (186.  1890-91:39,118.) 

By  1892,  the  doctor  of  music  degree  was  added,  to  be  con- 
ferred upon  one  who  had  written  a  cantata,  oratorio,  or  sym- 
phony, and  which  had  been  accepted  as  a  valuable  contribution 
to  the  musical  world.  (186.  1892-93:164.) 

The  course  was  extended  to  four  years  in  1899,  and  consisted 
of:  first  year,  harmony;  second  year,  melody;  third  year,  larger 
forms  of  composition,  modern  counterpoint,  fugue  and  canon; 
fourth  year,  orchestra  and  scoring  of  the  exercises  already  written, 
in  preparation  for  graduation. 

The  theoretical  examination  for  the  bachelor  of  music  degree 
must  also  be  both  oral  and  written,  other  requirements  being  the 
same,  except  that  the  original  composition  must  be  scored  for 
full  orchestra.  (186.  1899-00:99.) 

The  admission  requirements  in  1900  were  made  identical  with 
that  of  the  freshman  in  arts  and  sciences.  Candidates  for  the 
bachelor  of  music  degree  must  take  three  of  the  five  courses 
offered  in  English  language  and  literature.  Such  students  were 
recommended  to  take  two  years  in  physics  and  history  of  music. 
The  latter  course  had  been  added  for  those  not  specializing  in 
music.  (186.  1900-01:100.) 

A  summer  course  in  harmony  was  added  in  1906,  (186. 
1906-07:264.)  and  the  following  summer,  counterpoint  was  offered. 
Agreement  was  also  made  with  the  Combs  Conservatory  of  Music, 
by  which  candidates  for  the  music  degree  in  the  university  might 
have  their  compositions  performed  by  the  conservatory  symphony 
orchestra,  at  the  discretion  of  the  professor  of  music,  and  the 
director  of  the  conservatory.  Music  students  at  the  university 
could  attend  all  lectures  and  recitals  of  the  conservatory.  (186. 
1907-08:294.) 

A  course  in  history  and  aesthetics  of  music  was  added  in  1912, 
the  four  year  theoretical  courses  leading  to  a  musical  degree 
remaining  the  same  up  to  the  present. 

The  name  of  H.  A.  Clarke  has  been  identified  with  the  in- 
stitution for  many  years,  he  being  the  only  instructor.  Applied 
music  has  never  been  encouraged  within  the  university.  The 
course  still  remains  a  special.  Some  credit  is  given  for  work  in 
music  in  " teachers'  course"  on  the  same  footing  as  other  sub- 
jects. The  average  enrollment  in  the  department  is  about  forty. 
(426.  1912-13:78,243.) 

Passing  on  to  Bucknell  University,  we  find  a  school  of  music  with  seven 
teachers.  The  usual  applied  branches  are  taught, 

BUCKNELL  UNIVERSITY  and  strings  complete,  even  to  double  bass  violins. 
Piano  is  a  four  year,  and  voice  a  three  year  course, 

with  the  recommendation  that  harmony  be  included  in  the  course. 


121 

To  all  appearances,  there  is  no  real  or  vital  connection  with  the  academic 
part,  nor  is  theoretical  work  in  music  required  for  completion.  The  enroll- 
ment, which  averages  one  hundred  fifteen,  equals  a  fifth  of  the  total  college 
registration.  The  tuition  in  applied  studies  is  $60  a  year,  class  lessons  in 
harmony  $18. 

The  Virgil  practice  clavier  is  used  by  three  of  the  teachers.  An  orchestra 
and  a  band  are  maintained  in  the  university.  (187.  1906-07:195,209.  1907- 
08:49,195.) 

Lebanon    Valley    College    has    likewise    a    con- 

LEBANON  VALLEY  COLLEGE    servatory  of  music  employing  six  teachers.    The 

usual  applied  branches  and  theory  are  taught, 
'  with  a  recital  at  graduation. 

1st  year  2d  year  3d  year  4th  year 

Applied  major         Applied  major         Applied  major         Applied  major 
Greek  or  Roman     Harmony  Harmony  Harmonic  analysis 

hi    p  y  Musical  history       Theory  of  music      Psychology  of  music 

English  English  German  Sight  playing 

Four  hours'  daily  practice  is  understood  with  the  major  applied  subject, 
while  each  hour  of  practice  counts  as  a  half  hour  credit. 

A  piano  graduate  must  take  three  terms  in  voice  or  organ  as  a  minor. 
A  voice  or  violin  graduate  must  study  piano  for  three  terms.  The  sophomore 
year  is  required  in  organ.  For  a  bachelor  of  music  degree,  the  candidate  must 
have  finished  the  above  work  for  a  diploma,  and  one  year  of  canon,  fugue 
and  original  composition. 

Tuition  in  applied  branches  is  $60  per  year,  the  assistants  being  somewhat 
cheaper.  Class  instruction  in  theoretical  branches  averages  about  $36. 

The  special  music  enrollment  is  forty-seven,  academic  students  enrolled 
in  music  thirty-two,  while  the  total  music  registration  averages  seventy-nine, 
at  present.  (188.  1913:70,83.  1914:69.) 

The  Perkiomen  Seminary  has  a  department  of  music  of  about  the  same 
size.  The  aim  is  to  reach  the  stage  of  advancement 

PERKIOMEN  SEMINARY  where  one  or  two  years  in  our  best  conservatories  will 
secure  a  diploma."  The  Virgil  practice  clavier  again 

is  used  for  intensive  hand  culture.  Piano  has  five  grades,  voice  has  four  and 
violin  three.  There  are  also  courses  in  harmony,  theory  of  music  (acoustics) 
and  history  of  music. 

Graduation  requires  an  applied  subject,  two  years  of  harmony,  theory 
and  history  of  music,  and  the  performance  of  a  program.  If  in  voice,  a  year 
of  French  and  German  is  required.  All  graduates  must  have  a  knowledge 
of  common  English  branches,  and  one  year  each  of  algebra,  literature,  ancient 
history,  rhetoric,  English  classics,  German  and  French. 

Three  clubs  and  a  symphony  orchestra  are  maintained  by  the  students. 

The  tuition  for  a  year  in  applied  branches  with  three  in  a  class  is  $20, 
privately  $30  to  $50.  Theory  and  harmony  in  class  are  $20.  Music  students 
pay  the  usual  rates  for  academic  branches. 

The  music  enrollment  averages  eighty-six,  the  academic  courses  about 
one  hundred  eighty-five  students.  (189.  1912-13:43:117.) 

Grove  City  College  has  a  music  department  employing  six  teachers. 
Piano,  organ,  violin  and  voice  are  taught,  the  only 

GROVE  CITY  COLLEGE  academic  work  required  being  German,  French  or 
Italian  in  voice  as  a  major.  Graduation  requires  at 

least  three  years.  The  tuition  runs  as  follows  for  a  term:  voice  or  piano,  $22 
to  $27;  organ,  $35;  violin,  $27;  harmony  in  class,  $12;  counterpoint,  two  in 
a  class,  $15;  composition,  $20;  dictation  and  ear  training,  $6. 

A  certificate  for  teaching  is  given  to  those  with  aptness,  and  who  complete 
one  year  in  theoretical  piano  instruction,  one  year  of  supervised  piano  teaching, 
two  years  in  history,  and  two  years  in  harmony  and  forms  of  music. 

The  total  music  enrollment  is  one  hundred  seventy-five,  fifty-nine  being 
in  the  department  for  a  certificate  in  teaching.  (190.  1913-14:60,120.) 


122 

The  Pennsylvania  College  for  Women  has  a  school  of  music  with  three 
teachers,  sixteen  practice  pianos,  and  instruction  in 

PENNSYLVANIA  COLLEGE    all  departments,  including  cornet  and  other  unusual 

FOR  WOMEN  instruments.      College    students    may    count    two 

hours  of  music  toward  a  degree,   if  one  hour  is 

theoretical,  for  which  one  hour  of  practice  may  be  combined.  A  definite 
amount  of  practice  and  theoretical  work  gives  a  certificate  in  piano,  organ, 
voice  or  musical  pedagogy,  a  great  effort  being  made  to  have  the  work  truly 
educative. 

The  theoretical  department  includes  harmony,  counterpoint,  canon,  fugue, 
musical  form,  free  composition,  orchestration,  history  of  music,  appreciation, 
a  teachers'  course,  and  a  children's  course,  in  which  the  advanced  pupils  do 
the  teaching. 

Class  instruction  for  all  theory  a  semester  is  $15. 
Piano,  voice,  violin,  harp,  guitar,  madolin,  etc.,  $50. 
Children's  course,  $20.     (191.     1909-10:58,79.) 

The  following  institutions  recognize  music  upon  the  curriculum  to  less 
extent  and  in  varying  ways: 

The  Pennsylvania  State  College  has  no  music  department,  but  opportunity 

is  given  for  piano  and  vocal  instruction.    A 
PENNSYLVANIA  STATE  COLLEGE    music   course   in   home   economics   is   free. 

(192.     1910:34.     1913-14:43.) 

The  Pennsylvania  College  at  Gettysburg  has  choral  and  instrumental 
musical   organizations,    consisting   of   a   band,    an 

PENNSYLVANIA  COLLEGE  orchestra,  guitar  and  mandolin  club,  and  glee  club, 
which  usually  take  a  ten  days'  trip  during  the  year. 
(193.  1912-13:98.  1913-14:103.) 

The  University  of  Pittsburg  put  in  a  school  of  education  in  1910.    Among 

the  new  departments  opened  up  for  the  training 

UNIVERSITY  OF  PITTSBURG    of  teachers  was  one  in  music.    A  supervisor  was 

employed  to  give  the  instruction.     (194.) 

Bryn   Mawr,  Allegheny  College,   Lafayette  College,   Lehigh  University 
and  Washington  and  Jefferson  College  have  no 

MISCELLANEOUS  COLLEGES    musical   instruction   of   any   kind.      (195.      196. 

197.     198.     425.) 


CHAPTER  II. 
SOUTH  ATLANTIC  DIVISION. 

DELAWARE. 

Delaware   College  a     Newark  has  no  department   of 
DELAWARE  COLLEGE    music,  nor  does  it  maintain  any  musical  organizations. 

(199.) 

MARYLAND. 

Johns  Hopkins  University  of  Balti- 

JOHNS  HOPKINS  UNIVERSITY    more  has  neither  musical   organ- 
izations nor  a  department. 

The  Woman's  College  of  Baltimore  had  five  instructors  to  give  instruction 

in  piano,  voice,  violin,  theory  and  organ 

WOMAN'S  COLLEGE  OF  BALTIMORE    in  1902.    An  appended  note  reads  to  the 

effect  that  only  piano  was  to  be  continued 


123 

the  following  year.  Piano  pupils  were  instructed  in  classes  of  two.  The 
tuition  in  applied  branches  was  $90  a  year.  (200.) 

DISTRICT  OF  COLUMBIA. 

Howard  University  at  Washington,  D.  C.,  has  a  conservatory  with  four 
teachers.    A  four  year  high  school  course  is  necessary 

HOWARD  UNIVERSITY     for  a  diploma,  which  further  required  four  years  in 
piano,  voice,  or  violin.    The  theory  course  includes  two 

years  of  harmony  and  harmonic  analysis.  All  candidates  are  advised  to  take 
literary  work.  The  department  was  organized  in  1892.  A  choral  society, 
orchestra,  glee  club  and  university  choir  are  maintained. 

Tuition  in  applied  subject ;  is  $5  per  month,  for  harmony  in  clasi  $1.25. 
History  and  ear  training  in  class  $1.25.  (201.  1913-14:120,244.) 

George  Washington  University  has  no  department  of  music, 

nor    does    it    give    entrance 

GEORGE  WASHINGTON  UNIVERSITY    credit,    or   credit   toward    a 

degree  for   any  such   work. 
(203.    427.) 

In  1907,  Georgetown  University  had  a  director  of  music  as  well  as  an 
instructor  upon   the  banjo,  guitar  and  mandolin 

GEORGETOWN  UNIVERSITY     No  such  instruction  is  given  according  to  a  late, 
catalog.     (202.) 

VIRGINIA. 

While  the  University  of  Virginia  makes  no  provisions  for  a 
musical  course  during  the  college  year 

UNIVERSITY  OF  VIRGINIA  (204.  1914:56.  428.)  a  summer  course 

is  put  in  for  the  training  of  teachers  of 

public  school  music.  Three  summers  gives  a  certificate.  An 
appended  note  reads  to  the  effect  that  ''in  the  near  future,  the 
grade  teacher  will  have  to  qualify  in  music  as  in  other  subjects," 
and,  as  a  result,  the  course  was  outlined. 

The  first  year  includes  sight  reading,  dictation,  materials 
devoted  to  the  kindergarten  and  first  four  grades,  presentation 
of  material  and  manner  of  presenting  the  rote  song,  methods  and 
the  rudiments  of  music. 

The  second  year  takes  up  sight  reading  in  grades  five  to  eight, 
using  the  Latin  syllables,  melody,  dictation  dealing  with  tone 
and  rhythm  are  used  in  the  same  grades,  material  to  high  school 
study  of  charts  and  books,  methods  and  study  of  the  pedagogical 
principles,  dictation,  high  and  normal  school  music,  advanced 
courses  in  theory,  musical  appreciation,  chorus  singing  and  prac- 
tice conducting;  practice  teaching  is  also  introduced,  harmony 
and  chorus.  Piano  is  taught  by  a  concise  method  eliminating 
etudes  and  studies,  thus  gaining  technique  in  the  shortest  possible 
time.  Violin  is  taught  also.  (204.) 

College  of  William  and  Mary  has  no  provision  for  music  nor 

COLLEGE  OF  WILLIAM  AND  MARY 


124 

WEST  VIRGINIA. 

A  school  of  music  was  established  in  the  University  of  West 

Virginia  in  1897,  "for  the  pur- 

UNIVERSITY  OF  WEST  VIRGINIA  pose  of  getting  a  musical  train- 
ing with  other  necessary  ad- 
vantages, at  a  reasonable  cost."  Piano,  organ,  voice,  violin, 
mandolin,  guitar,  banjo,  cornet,  clarinet  and  other  brass  and 
reed  band  and  orchestral  instruments  were  taught.  Theoretical 
work  included  harmony,  counterpoint,  theory,  history,  compos- 
ition, orchestration,  sight  singing  and  other  kindred  subjects. 

Candidates  for  bachelor  of  arts  degree  could  elect  three 
courses  in  music  for  college  credit,  bachelor  of  philosophy  could 
include  five  courses  in  music  toward  the  degree,  while  a  candidate 
for  bachelor  of  letters  might  elect  six  musical  courses  toward 
college  credit.  At  least  two  of  the  courses  in  each  case  had  to 
be  chosen  from  the  science  of  music,  harmony,  counterpoint, 
theory  or  analysis. 

No  credit  toward  a  degree  was  given  in  the  first  three  courses 
in  piano,  violin,  voice  or  other  stringed  instruments.  A  graduate 
had  to  complete  some  applied  study,  besides  harmony  and 
theory,  with  a  public  program.  Voice  students  added  to  this 
two  years  of  French  or  German  and  two  years  of  piano. 

The  tuition  for  two  private  lessons  a  week  for  twelve  weeks 
in  piano  was  $12  to  $18,  class  of  two  same  terms,  class  of  three 
$9  to  $13,  class  of  four  $8  to  $10,  voice  two  lessons  a  week  for 
twelve  weeks  $18.  Theoretical  courses  were  free  to  all  music 
students.  (207.  1897-98:152.) 

By  1902,  there  were  ten  teachers,  double  the  number  in  the 
first  year,  1897,  while  the  courses  remained  practically  the  same. 
(207.  1902-03:149.) 

In  1903,  credit  toward  a  degree  in  theory  could  not  exceed 
five  courses.  A  voice  teachers'  certificate  for  two  years'  work 
was  offered.  The  certificate  for  piano  or  violin  required  three 
years'  study. 

Proficiency  in  language  was  recommended,  as  the  depart- 
ment was  frequently  requested  to  furnish  music  teachers  who 
could  teach  a  language.  A  recognized  demand  throughout  the 
country  called  for  a  public  school  music  course  for  teachers  and 
supervisors,  so  that  full  courses  had  been  placed  upon  the  curri- 
culum. (207.  1903-04:146,241.) 

In  1910,  the  credit  for  music  toward  a  college  degree  had 
been  cut  to  two  and  one-half  courses.  (207.  1910-11:232.) 

The  schools  of  music  and  fine  arts  were  thrown  together  in 
1912.  Credit  toward  the  A.  B.  degree  could  not  exceed  fifteen 
hours,  and  must  be  confined  to  theory  and  history.  (207.  1912- 
13:197,199.) 

The  following  table  shows  the  increase  since  the  department 
was  established: 


125 

Music  Total                                      Music  Total 

enrollment  registration                             enrollment     registration 

1897-98 54  845  1904-05 225  1,412 

1899-00 242  1,026  1905-06 167  1,422 

1901-02..         ..141  825  1910-11 139  1,426 

1902-03 . .         .  .  289  1,099  1912-13 107  1,271 

1903-04 234  1,256  1913-14 123  2,014 

As  the  courses  are  given  at  the  present  time,  they  include 
piano,  violin,  voice,  organ,  accompanying,  chamber  music, 
orchestra,  band  music,  harmony,  sight  reading,  public  school 
music,  counterpoint,  canon  and  fugue  and  history  of  music.  In 
voice,  piano  and  violin,  a  three  year  teachers'  certificate  course 
is  given.  A  four  year  course  leads  to  an  artists'  diploma. 

Candidates  for  a  teachers'  certificate  must  have  completed 
two  years  of  high  school  English,  one  year  of  history  and  one  of 
foreign  language,  with  harmony,  counterpoint,  form  and  analysis, 
and  history  of  music.  The  artists'  diploma  requires  the  same, 
with  a  graduating  recital. 

No  entrance  credit  is  given  for  music,  while  fifteen  semestral 
hours  are  allowed  toward  the  A.  B.  degree. 

A  voice  graduate  must  take  one  year  each  of  French,  German 
and  Italian,  and  two  years  of  piano.  A  violin  graduate  must 
plav  the  piano. 

The  piano  tuition  for  a  semester  is  $28  to  $40,  voice  tuition 
$20  to  $40,  violin  $28,  organ  $40,  wood  and  brass  instruments 
$20,  theory  in  class  $16  to  $20.  Music  students  pay  the  usual 
academic  fees.  (207.  1913-14:106,229,429.) 

NORTH  CAROLINA. 

The  University  of  North  Carolina  has  a  musical  association 

for  the  purpose  of  fostering  a 

UNIVERSITY  OF  NORTH  CAROLINA    love  for  music,  and  to  offer 

opportunities  of  instruction  to 

those  who  are  interested  in  music.  The  organization  consists  of 
a  band,  an  orchestra,  a  mandolin  and  a  glee  club,  and  dates 
back  to  1907.  (208.) 

The  summer  school  has  three  courses  for  teachers  as  follows: 

(1)  Public  school  music  course  for  grade  teachers  consisting  of 
sight  singing,  rhythm,  sense  training,  observation  and  folk  songs. 

(2)  Sight  singing,  chromatics,  dictation,  rhythm,  two  and  three 
part  singing,  chorus  and  conducting.     (3)  A  course  for  those 
intending  to  qualify  for  supervisors,  and  includes  special  work 
of  supervisors,  besides  harmony.     (209.) 

Shaw  University  for  colored  students  has  a  music  department  employing 

two  teachers.     Piano   furnishes  the  specialty,   and  has 

SHAW  UNIVERSITY    four  grades.    Sight  singing,  ear  training,  time,  form  and 

song  expression  are  taught  also. 

The  tuition  for  vocal  or  instrumental  lessons  is  $1.50  a  week,  for  two 
lessons  weekly. 


126 

The  music  enrollment  is  fifty-seven,  the  total  college  registration  fivJ 
hundred  fifteen.    The  institution  is  of  college  rank.     (210.) 

SOUTH  CAROLINA. 

The  University  of  South  Carolina  does  not  offer  any  music] 

courses,  but  hopes  to  secure 

UNIVERSITY  OF  SOUTH  CAROLINA    a  director  of  music  in  the  near; 

future.     (211.    430.) 

Converse  College  at  Spartanburg  has  a  department  offering  instruction  in] 
piano,  organ,  violin,  voice  and  theoretical  study  ofi 

CONVERSE  COLLEGE  music.  The  rigid  discipline  of  the  course  is  shown  by^ 
the  fact  that,  out  of  nearly  three  hundred  musical 

students,  only  two  or  three  are  graduated  in  one  year.     The  bachelor  of' 

music  degree  requires  seven  years.     The  doctor's  degree  demands  three  more. 

The   college   provides   thirty-four  music  rooms   for   the  accommodation   of] 

students.     (212.) 

GEORGIA. 

Among  the  optional  courses  of  the  Georgia  University  in  1911] 
were  common  school  music,  violin,  voice 

GEORGIA  UNIVERSITY  and  harmony,  the  latter  being  a  three; 
year  course.  If  any  courses  exist  now, 

they  are  of  minor  importance,  since  a  late  letter  says  "there  is. 

no  department  of  music  in  the  university."     (213.    431.) 


FLORIDA. 

UNIVERSITY  OF  FLORIDA    The    University    of    Florida    has    no 

provision  for  music.     (214.) 

The  Florida  State  College  for  Women  has  a  school  of  music  practically 
self-sustaining.  All  class  and  chorus  work  is  free. 

FLORIDA  STATE  COLLEGE     Instruction  is  given  in  piano,  voice,  organ,  violin, 

FOR  WOMEN  theory   and   history   of  music.      All   students   are 

required  to  take  some  literary  work  in  connection 

with  music,  since  it  is  believed  that  the  highest  results  cannot  be  attained, 
without  at  least  the  foundation  of  a  liberal  education.  A  large  part  of  the 
time  is  given  to  teaching  normal  school  students  the  principles  of  public  school 
music.  It  is  a  four  year  course.  Theoretical  studies  include  harmony, 
counterpoint,  canon  and  history  of  music. 

The  sub-collegiate  course  consists  of  the  following  subjects: 

1st  year  2d  year  3d  year               4th  year 

English  English                English                Electives 

French  German               German               Music 

History  History               Philosophy' 

Music  Music                 Music 

The  four  years  require  one  hundred  twenty-six  hours,  fifty  of  the  same 
being  in  music,  to  procure  a  certificate  in  music.  (215.  1911-12:53,95,173.) 

The  part  of  physics  relating  to  sound  is  required  for  a  term  of  three  weeks, 
without  credit.  For  bachelor  of  music  degree,  two  units  of  the  entrance 
requirements  must  be  Latin.  (215.  1912-13:113.) 


127 

John  B.  Stetson  University  has  a  school  of  music  employing  six  teachers. 
The  aim  is  to  turn  out  well  educated  musicians, 

JOHN  B.  STETSON  UNIVERSITY  giving  opportunity  for  a  broad  culture.  In- 
struction is  given  in  piano,  voice,  violin,  organ; 

in  theory,  harmony,  counterpoint,  canon  and  fugue,  instrumentation,  acoustics, 
elementary  and  advanced  sight  singing. 

The  piano  course  requires  piano,  harmony  and  history  of  music.  The 
voice  course  requires  piano,  voice,  harmony,  history  of  music,  French,  German 
or  Italian.  In  addition  to  the  regular  courses,  the  department  of  university 
extension  offers  lecture  recitals  upon  musical  subjects.  (216.) 


CHAPTER  III. 
SOUTH  CENTRAL  DIVISION. 

KENTUCKY. 

The  University  of  Kentucky  maintains  glee  clubs,  an  orchestra, 

and  gives  concerts  throughout  the 

UNIVERSITY  OF  KENTUCKY    state.     (217.)    A  music  department 

has  a  nominal  connection  with  the 

university,  there  being  no  credit  for  the  work,  either  as  a  college 
study  or  as  entrance.  The  college  is,  however,  very  much 
interested  in  the  subject,  and  hopes  to  have  an  organized,  regular 
department  in  the  near  future.  (432.) 

TENNESSEE. 

The  first  instruction  in  the  University  of  Tennessee  was  in 

1893,  and  consisted  of  private 

UNIVERSITY  OF  TENNESSEE  lessons  "in  vocal  and  instrumental 

music,  individual  or  class,  given  at 

the  university  by  competent  licensed  teachers."  A  trained  choir, 
an  orchestra  and  a  glee  club  existed  also.  (218.  1893-94:17.) 

In  1901,  an  instructor  was  listed  who  taught  voice,  piano, 
organ  and  harmony. 

By  1906,  theory  and  history  of  music  were  included  in  the 
curriculum.  (218.  1906-07:4,84.) 

Music  is  first  mentioned  as  entrance  credit  in  1907,  and 
included  musical  theory  one  unit,  and  performance  one  unit,  the 
latter  averaging  about  two  years  of  systematic  study  to  be 
acceptable.  (218.  1907-08:89.) 

Maryville   College   has   a  musical   department   employing  six   teachers. 
Piano,  voice,  theory,  harmony  and  history  of  music  are 

MARYVILLE  COLLEGE     taught.    For  a  diploma  in  piano,  the  three  last  branches, 
with   the   ability   to   play  six   compositions   from   the 

classics  of  the  sixth  grade  are  required.  In  voice,  ten  such  selections  are 
required. 

Free  instruction  is  given  in  choir,  sight  reading,  band  and  glee  club.    (219.) 


128 

Fisk  University,  colored,  has  a  department  with  six  teachers,  both  vocal 

and  instrumental  music  being  represented.    The  chair  was 

FISK  UNIVERSITY     established  in  1885,  and  began  systematic  instruction  in 

voice,  which  resulted  in  the  well  known  Jubilee  Singers, 

who  saved  the  immortal  songs  of  their  race. 

All  students  above  the  fourth  grade  in  music,  must  take  harmony  in 
class  with  a  small  fee.  Music  specials  are  required  to  practice  three  hours 
per  day,  and  take  another  study  in  addition  to  music. 

The  school  has  twenty  pianos,  a  pipe  organ  and  two  practice  claviers, 
with  a  library  of  four  thousand  musical  volumes. 

There  were  one  hundred  sixty-one  enrolled  in  music  in  1907,  the  college 
total  being  five  hundred  seventy-one.  (220 — all  ref.) 

Grant  University  allows  s  udents  who  are  sufficiently  advanced  in  music 

of  a  collegiate  rank,  to  take  such  instruction  from  teachers 

GRANT  UNIVERSITY     of  Chattanooga  who  are  recommended.   Twelve  semestral 

hours  will  be  allowed  for  A.  B.  or  B.  S.  degrees,  while 

eighteen  hours  will  be  permitted  for  music  work  toward  a  Litt.  B.  degree. 

(221.) 

The  Vanderbilt  University  has  a  vocal  music  course  of  five  months,  since 
VAMTWRRTTT  TTMTvi?R«;TTv  tne  art  of  vocal  music  is  considered  indispensible 

VANDERBILT  UNIVERSITY      ^  &  minister        (222.) 

Cumberland  University  has  a  conservatory  with  three  teachers.     The 
chair   was     established    because    the    "south    de- 
CUMBERLAND  UNIVERSITY    manded  standard  academic  music  study." 

A  teachers'   certificate  requires  at  least  one 

year  of  academic  study,  three  in  voice,  piano  or  organ,  and  one  each  of  harmony 
and  history  of  music. 

For  a  diploma  of  graduation  and  a  degree,  a  fourth  year  of  piano  or  violin 
is  required,  or  a  third  in  voice  with  two  years  of  harmony,  theory  and  history 
of  music,  and  a  year  of  academic  study. 

Tuition  for  applied  subjects  for  five  months  is  $35,  for  the  first  three 
years;  the  fourth  year  tuition  for  the  same  is  $40.  Harmony  theory  and 
history  are  $10  for  the  same  period. 

Elementary  theory  is  free  to  music  students.     (223.) 
Peabody  College  for  Teachers  has  a  professor  of  music  upon  the  faculty, 

while   a   glee   club   is   listed.     Otherwise 
PEABODY  COLLEGE  FOR  TEACHERS     there    is    no    mention    made    of    music. 

(224.) 

UNIVERSITY  OF  THE  SOUTH     University  of  the  South  gives  no  instruction  in 

music.     (225.) 

ALABAMA. 
The  University  of  Alabama  has  no  chair  of  music,  nor  is  any 

UNIVERSITY  OF  ALABAMA      SSLf^ttS     *     ^^     ^     *"" 

Music  has  been  recognized  in  the  Tuskegee  Institute  since  its  beginning. 
Note  and  sight  reading  are  taught,   as  well   as  the 

TUSKEGEE!  INSTITUTE    classics,  because  of  their  cultural  and  educational  value. 
A  special  study  is  made  of  negro  folk  songs.     (388.) 

MISSISSIPPI. 

The  University  of  Mississippi  has  no  instruction  in  music. 

The    students    have    a    chance    to 

UNIVERSITY  OF  MISSISSIPPI     study  music,   but   not  under  uni- 
versity authority.     (227.    434.) 


129 

Mississippi   Industrial   Institute   and   College  has   a  music   department 
with  eleven  teachers.     Established  in  1884,  it  was 

MISSISSIPPI  INDUSTRIAL       the  first  state  college  ever  founded  for  women. 
INSTITUTE  AND  COLLEGE  Both  voice  and  piano  are  taught,  one  hour  of 

credit  being  allowed  each  semester  in  the  latter.    A 

candidate  for  a  diploma  in  voice  must  complete  the  academic  course  of  music, 
and  two  years'  piano. 

The  college  offers  a  normal  department  of  two  years,  in  which  each  student 
gives  two  lessons  a  week  to  a  child  under  the  supervision  of  the  instructor. 

All  piano  pupils  are  urged  to  take  the  A.  B.  or  B.  S.  degree  to  insure 
broad  mnsicianship,  and  deeper  appreciation  of  the  intellectual  in  music. 

The  course  is  as  follows: 

FRESHMAN  SOPHOMORE 

English 3  hours  English 3  hours 

Modern  language 3  Modern  language 3 

Harmony 2  Harmony 2 

Piano  or  voice 1  Piano  or  voice 1 

JUNIOR  SENIOR 

Physics 3  Musical  history 2 

Psychology 3  Normal  music 1 

Theory  and  musical  history ....  2  Sight  singing 1 

Normal  music  for  piano  pupils. .  1  Piano  or  voice 1 

Piano  for  voice  pupils 1 

Tuition  for  piano  or  violin,  half  session,  $28;  for  voice,  half  session,  $28; 
for  harmony,  theory  and  history,  $10.  (228.) 

Mississippi  Agricultural  and  Mechanical  College  has  a  well  developed 
college  band,  under  the  leadership  of  a  director 

MISSISSIPPI  AGRICULTURAL     of  music  and  of  the  wood  shop.    A  college  glee 
AND  MECHANICAL  COLLEGE     club   has  aroused   considerable  interest.     Aside 

from  these  organizations,  there  is  nothing  to  be 
said  of  musical  development  in  this  college.     (229.) 

LOUISIANA. 

The  University  of  Louisiana  gives  entrance  credit  in  music, 

but  none  toward  a  degree.  (435.) 

UNIVERSITY  OF  LOUISIANA  Three  courses  were  offered  in  the 

summer  school  of  1914,  but  without 

any  detailed  information.     (230.     1914:136.     36.     1911-12  and 

1912-13:108.) 

The  Louisiana  Industrial  Institute  has  a  music  course  which  shows  steady 

and  satisfactory  growth.     All  branches  of 

LOUISIANA  INDUSTRIAL  INSTITUTE     music  show  over  20%  growth.    The  violin 

department    has    increased    200%  in   two 

years,  the  band  has  forty  members,  while  the  orchestra  is  composed  of  ex- 
perienced players.     There  is  also  a  splendid  girls'  chorus. 

Twenty  pianos  in  that  department  are  in  use  all  the  time.  (36.  1&11-12 
and  1912-13:130.) 

Tulane  College  offers  exceptional  musical  advantages.     By  an  arrange- 
ment of  the  board,   the   School   of  Music   of  Newcomb 
TULANE  COLLEGE     College   has  been   opened   to  students   of  the   academic 
colleges  for  men,  and  hence  the  strength  of  such  work  is 
centered  in  Newcomb. 

The  school  of  music  of  H.  Sophie  Newcomb  Memorial  College  was  estab- 
lished in  1909,  and  placed  on  a  standard  of  excellence  equal  to  that  maintained 
by  other  schools  of  the  college.  The  same  high  requirements  for  admission, 


130 


the  same  advanced  grade  of  instruction  and  well  trained  instructors  were 
adhered  to  strictly. 

In  1911,  these  courses  were  thrown  open  to  men  students,  in  response  to 
an  increasing  demand  for  good  instruction  in  musical  branches,  since  Tulane 
College  did  not  offer  an  equivalent  to  its  male  students.  It  was  recognized 
that,  in  many  studies  in  music,  particularly  in  ensemble  and  orchestral  work, 
the  presence  of  both  men  and  women  was  almost  a  necessity. 

The  aim  is  to  furnish  superior  facilities  for  the  study  of  music  in  all  its 
branches.  Extended  practical  and  theoretical  courses  are  offered;  first,  to 
regular  students,  either  as  composers,  performers,  teachers  or  critics;  second, 
to  college  students  who  desire  to  study  composition,  musical  history  or  apprecia- 
tion as  elements  of  liberal  culture;  third,  to  special  students  who  wish  to 
specialize  in  one  or  more  brances  of  music. 

The  courses  offered  are  the  regular  course  leading  to  the  bachelor  of  music 
degree,  public  school  music  course  leading  in  two  years  to  a  teachers'  diploma, 
or  in  four  years  to  the  bachelor  of  arts  degree  in  education,  combined  course 
in  public  school  music  and  art,  special  courses  leading  to  a  certificate,  courses 
for  teachers,  courses  for  academic  students  counting  toward  the  bachelor  of 
arts  degree,  seven  courses  in  all  being  given.  (231.  1914:231.) 

The  course  of  study  leading  to  the  bachelor  of  music  degree  is  as  follows: 

SOPHOMORE 

Major 1  hour 

Harmony 3 

Solfeggio 2 

History  of  music 2 


FRESHMAN 


1  hour 

1 


Major.  . 

Theory  \  year     \ 

Harmony  £  year  / 

Solfeggio 5 

Appreciation  of  music 2 

Recital  class 1 

English 3 

French  or  German 3 

Physical  training 
Minor  (possible  extra) 
JUNIOR 

Major 1  hour 

Counterpoint 2 

History  of  music 1 

Solfeggio 1 

Ensemble 1 

Recital  class 1 

Electives 7  or  8 

Minor 1  or  2 

Practice  teaching 2 

Normal  course  in  teaching 

major  instrument 1 

Psychology 3 

History  of  art 1 

English 3 

French,  German  and  Italian.  .3 

History 3 

Methods  in  public  school 

music .  .  .  .  3 


Ensemble 1 

Recital  class 1 

English 1 

French  or  German 3 

Physical  training 
Minor  (possible  extra) 

SENIOR 

Major 1  hour 

Canon  and  fugue 

Free  composition 

Instrumentation  and  con- 
ducting   

Analysis '...!' 

Ensemble 1 

Recital  class 1 

Thesis  or  graduating  recital .  .  1 

Electives 7  or  8 

Minor 1  or  2 

Canon  and  fugue 2 

Free  composition 2 

Instrumentation 2 

History  of  music 1 

Pianoforte  sight  playing 1 

Song  repertoire  and  inter- 
pretation   1 

Practice  teaching 2 

Normal  course  in  teaching 

major  instrument 1 

Psychology 3 

History  of  art 1 

English 3 

French,  German  and  Italian.  .3 
Methods  in  public  school 

music 3 

(231.     1914:182.) 


131 

A  fair  reading  knowledge  in  two  foreign  languages  is  required  of  graduates 
and  they  must  have  pursued  for  two  years,  certain  studies  chosen  with  the 
aim  of  future  specialization  in  teaching,  composing,  concert  performance,  or 
work  in  musical  criticism  and  the  literature  of  music. 

Before  graduation,  each  candidate  for  a  degree  will  be  expected  to  give  a 
recital,  or  present  an  original  composition  for  voices  and  orchestra,  or  write 
an  original  essay  representing  careful  investigation  of  a  musical  topic. 

The  four  year  course  in  public  school  music  leading  to  bachelor  of  arts 
in  education,  requires  the  educational  and  academic  studies  necessary  for  all 
public  school  teachers,  besides  giving  good  fundamental  training  in  music. 
The  studies  are  as  follows: 

FRESHMAN  SOPHOMORE 

English,  composition,  rhetoric,  English,  literature, 

American  literature 3  hours        language 3  hours 

Foreign  language 3  Foreign  language .  .  3 

Physics  or  chemistry 5       •  Biology 5 

Mathematics,  algebra,  trigonometry,  History 3 

analytical  geometry 5  Elective 3 

Elective 3 

Thirty  hours  are  required  in  education  in  the  junior  and  senior  years; 
five  in  educational  psychology,  two  in  educational  hygiene,  five  in  history  and 
principles  of  education,  and  two  in  elementary  or  secondary  education.  The 
remaining  sixteen  are  elective.  (231.  1914:89.) 

The  two  year  course  permits  the  holder  to  teach  in  the  public  schools  of 
Louisiana. 

An  equivalent  course  is  offered  in  music  and  art  combined,  since  there  is 
demand  for  the  double  teaching.  A  two  year  and  a  four  year  course  are  offered, 
corresponding  to  the  same  in  the  public  school  course. 

The  following  courses  to  the  extent  of  nine  hours  may  be  elected  toward 
the  A.  B.  degree  during  the  junior  and  senior  years: 

Elements  of  theory  Appreciation  of  music 

Elementary  harmony  History  of  music 

Advanced  harmony  Elementary  solfeggio 

Counterpoint  Intermediate  solfeggio 

Canon  and  fugue,  composition,  instrumentation,  and  conducting  may  be 
taken,  but  only  by  students  of  unusual  preparation  and  ability.  In  cases  of 
exceptional  talent,  these  courses  may  be  elected  also  in  the  freshman  and 
sophomore  years  as  well. 

Nineteen  courses  are  given  in  the  theoretical  department,  and  practically 
all  the  usual  instruments  in  applied  music.  (231.  1914:233.) 

TEXAS. 

The  University  of  Texas  put  in  a  chair  of  music  January  1, 
1914.  The  courses  are  cultural  and 

UNIVERSITY  OF  TEXAS  require  no  extra  fees.  One  instructor  is 

employed  in  the  department,  and  there 

are  eighty-four  registered  students.  Credit  is  given  toward  a 
degree,  but  not  for  entrance.  (436.) 

The  courses  listed  in  the  college  of  arts  are  harmony,  advanced 
harmony,  composition,  harmonic  analysis,  analysis  of  musical 
forms,  methods  of  musical  composition  and  types  of  design, 
history  of  music  and  choral  singing. 

The  counterpoint,  composition  and  harmonic  analysis  are 
omitted  this  year.  (232.) 


132 

Baylor  University  has  a  conservatory  of  music  employing  ten  teachers. 
The  courses  include  piano  eight  grades,  organ  six 

BAYLOR  UNIVERSITY  grades,  violin  eight  grades,  voice  the  same,  mandolin, 
guitar  and  cornet  each  two  grades,  harmony,  counter- 
point, canon  and  fugue. 

Piano  graduation  requires  the  full  piano  course,  full  harmony  course 
college  entrance,  three  courses  of  college  English  and  a  recital. 

Both  the  violin  and  piano  have  four  grades  of  post  graduate  work. 

A  public  school  music  course  is  given  in  addition  to  the  above. 

The  bachelor  of  music  degree  requires  fourteen  units  entrance  credit,  and 
thirty-three  majors  as  follows: 

Five  to  twelve  grades  in  one  branch 9  majors 

.     Harmony  and  counterpoint 1 

Other  branches  of  music  equal  to 5 

English  and  other  modern  languages 8 

Electives  not  over  six  in  music 9 

The  tuition  in  piano  is  $50  to  $90,  harmony  and  counterpoint  in  class  for 
a  year  $27.  (233.) 

The  conservatory  of  Texas  Christian  University  has  four  teachers  upon 

the  faculty. 

TEXAS  CHRISTIAN  UNIVERSITY  Courses  are  offered  in  piano,  violin,  voice 

and  theory,  with  a  normal  piano  course. 

Graduation  requires  eight  grades  in  an  applied  major,  full  harmony 
course,  and  a  recital.  Certificates  of  proficiency  are  given  to  those  who  finish 
all  but  the  eighth  grade  and  a  recital,  if  they  have  played  twice  in  public. 

Voice  graduates  must  have  four  grades  in  piano.  All  music  graduates 
must  qualify  for  entrance  in  English,  general  history  and  elementary  physics. 

Piano  or  violin  graduates  of  the  conservatory  are  allowed  fifteen  credits 
toward  the  A.  B.  degree,  or  seventeen  in  voice. 

Piano  tuition  a  year  is  $90  to  $125,  violin  or  voice  $30  to  $40,  harmony 
in  class  $40. 

The  music  enrollment  is  fifty,  that  of  the  entire  college,  five  hundred 
twenty-eight.  (234.) 

ARKANSAS. 

The  earliest  catalog  available  for  the  University  of  Arkansas, 

1898,  shows  that  there  was  a  music 

UNIVERSITY  OF  ARKANSAS  department  offering  piano  six  grades, 

violin,  voice,  guitar,  mandolin  and 
harmony.  (235.  1898-99:108.) 

By  1901,  courses  were  offered  in  harmony,  counterpoint, 
musical  analysis,  musical  history,  general  musical  theory  and 
sight  reading. 

A  diploma  was  offered  for  finishing  the  piano  course.  There 
was  also  a  post  graduate  course  in  the  same.  (235.  1901-02:118.) 

A  late  bulletin  announces  that  units  will  be  accepted  in  music 
only  for  students  entering  the  special  course  in  music. 

Tuition  for  applied  music  is  $22.50  to  $27.50,  harmony  or 
history  in  class  $5.  (235.  1913-14:45.) 


133 

OKLAHOMA. 

As  early  as  1898,  the  University  of  Oklahoma  had  a  school 

of  music  employing  five  teachers. 

UNIVERSITY  OF  OKLAHOMA  The  courses  offered  were  first  prin- 
ciples of  music,  choral  class,  which 
included  chorus  and  glee  club,  orchestra  and  a  mandolin  club. 

A  preparatory  course  in  piano  included  one  grade  to  four,  the 
teachers'  course  was  fifth,  the  sixth  was  an  artists'  course,  and  a 
graduate  course. 

Beginning  with  1899,  an  extra  course  was  to  be  required  in 
harmony  and  counterpoint  for  graduation. 

The  graduation  course  in  voice  required  four  years. 

The  piano  preparatory  course  was  as  follows: 

1st  year,  1st  semester,  piano,  composition,  United  States  history,  arithmetic. 


2d 

« 

3d 


2d  piano,  classics,  civil  government,  algebra. 

1st  piano,  rhetoric,  general  history,  Latin. 

2d  piano,  American  literature,  general  history,  Latin. 

1st  piano,  voice,  physics,  physiology. 

2d  piano,  voice,  harmony,  plane  geometry. 


The  admission  to  the  collegiate  course  was  equivalent  to  that 
of  the  arts  and  sciences. 

There  was  a  two  year  teachers'  course  in  piano,  voice  or 
violin. 

Oklahoma  resident  students  who  had  been  in  attendance  in 
the  music  department  for  two  years  received  the  third  year  free. 
(236.  1898-99:30,46.) 

In  1904,  the  following  courses  were  free  to  all  students  in  the 
fine  arts  school.  Those  who  completed  the  work  could  become 
candidates  for  the  A.  B.  or  B.  S.  degrees,  and  get  credit  in  the 
courses  marked  with  a  star. 

1st  semester  2d  semester 

Elementary  theory  Elementary  harmony 

*Harmony  *Harmony — elementary  composition 

*History  of  music  *Biographies 

*Counterpoint — composition  *Fugue  and  composition 

instrumentation — composition  *Advanced  composition 

*Aesthetics 
*Psychology  in  relation  to  music 

Post  graduate  courses  were  given  in  piano,  voice  and  violin. 
The  junior  year  gave  a  certificate  of  merit,  finishing  sophomore 
work  in  some  branch  gave  a  teachers'  certificate.  The  bachelor 
of  music  degree,  put  in  about  1901,  was  offered  for  the  completion 
of  piano,  voice  or  violin.  (236.  1904-05:99,108.) 

In  1905,  theory  courses  in  the  college  of  arts  and  science 
were  opened  as  electives,  and  included  harmony,  counterpoint, 
canon  and  fugue,  composition,  instrumentation,  musical  form 
and  history  of  music.  (236.  1905-06:93.) 

A  course  to  fit  supervisors  for  teaching  music  in  the  public 


134 

schools  was  mentioned  in  1911,  and  included  harmony,  musical 

form,  ear  training,  rote  songs,  conducting  and  practice  teaching. 

The  courses  for  the  bachelor  of  music  degree  were  as  follows: 

1st  year  2d  year 

Harmony  Counterpoint 

History  of  music  Musical  form   ' 

German  or  French  English 

Physical  training  Elective,  three  hours 

3d  year  4th  year 

Canon  and  fugue  Instrumentation 

Psychology  Thesis  each  semester 

Musical  analysis  Total,  58  hours. 
Elective,  three  hours  (236.     1911-12:128,142.) 

The  present  courses  include  the  bachelor  of  music  degree,  for 
the  completion  of  one  of  the  four  regular  applied  studies,  and  also 
courses  in  'cello,  cornet,  and  other  band  and  orchestral  in- 
struments. 

A  certificate  is  offered  for  completion  of  work  in  public  school 
music. 

A  high  school  graduation  is  required  for  admission.  Three 
units  may  be  offered  in  music  as  follows:  two  years  of  violin  or 
piano  count  as  three  units,  and  are  given  only  upon  examination. 

Tuition  is  free  except  in  applied  studies. 

After  a  student  has  been  a  member  of  any  organization,  glee 
club,  band  or  chorus  for  one  semester,  a  half  credit  is  given  each 
semester.  Not  over  four  hours  may  be  so  allowed. 

The  bachelor  of  music  course  in  theory  requires  the  following 
studies : 

1st  year  2d  year 

Harmony 4  hours        Counterpoint 2  hours 

History 2  German  or  French 4 

English 4  Elective 2 

Public  speaking 2  Philosophy No  credit 

Physical  training 1  (Second  semester  elective) 

3d  year  4th  year 

Canon 2  hours  Composition 4  hours 

Musical  form 2  History  of  music 2 

Instrumentation 2  Elective 4 

Fugue  or  musical  analysis ...  2  Instrumentation 4 

(Second  semester  elective)  (Second  semester  elective) 

The  course  for  piano,  violin  or  voice  is  practically  the  same. 
Voice,  however,  requires  a  year  of  Italian.  (236.  1913-14:171.) 

Courses  are  offered  in  'cello,  cornet  and  other  brass  instru- 
ments, not  leading  to  a  degree.  (40.  1912:102.) 

Kingfisher  College   offers  work  in  the  common  applied  branches,   and 
courses  in  theory.     Full  credit  is  given  for  harmony, 

KINGFISHER  COLLEGE     musical  history  and  theory,  when  taken  in  connection 
with  the  regular  music  course  above  the  third  grade, 
provided  such  credit  does  not  exceed  a  total  of  four  units. 

Admission  to  the  regular  collegiate  music  course  requires  a  high  school 
graduation,  with  piano  of  the  grade  of  dementi's  Sonatas. 


135 

Completion  of  the  sophomore  year  gives  a  teachers'  certificate,  junior  year 
a  diploma,  and  senior  graduation  leads  to  bachelor  of  music  degree.  A  voice 
graduate  must  be  able  to  play  the  piano. 

Entrance  requirements  in  college  studies  are  English  four  units,  algebra 
three,  physiology  or  physical  geography  one  each,  United  States  history  one, 
Latin  or  German  three,  geometry  three,  botany  two,  physics  two, 'ancient 
history  one  unit. 

All  college  and  music  students  who  are  candidates  for  graduation  take 
harmony,  counterpoint,  composition,  musical  analysis,  advanced  musical 
analysis,  double  counterpoint,  and  instrumentation. 

The  bachelor  of  music  degree  requires  the  following  studies: 

1st  year  2d  year 

Piano  Piano 

Harmony  Harmony 

English  literature  Musical  analysis 

Normal  class  German 

History  of  music  Normal  class 

Ensemble  History  of  music 
Ensemble 

3d  year  4th  year 

Piano  Piano 

Composition  Composition 

Counterpoint  Canon  and  fugue 

Musical  theory  Double  counterpoint 

German  Instrumentation 

Acoustics  Musical  theory 

One  oration  Normal  class 

One  theme  English  literature 

Normal  class  One  oration 

Ensemble  One  theme 

E  nsemble — recital 

The  voice  course  for  degree  is  practically  the  same,  except  that  voice  is 
taken  in  place  of  piano  as  major,  and  dramatic  action  and  opera  are  studied. 

The  enrollment  in  the  music  course  for  1908  was  seventy-three,  total 
college  attendance  one  hundred  sixteen.  (239.) 


CHAPTER  IV. 

NORTH  CENTRAL  DIVISION. 
OHIO. 

The  first  courses  in  the  University  of  Ohio  were  listed  in  the 
catalog  of  1907  to  1908,  summer  term, 

UNIVERSITY  OF  OHIO     and   were   designated   as   an   elementary 
course,  and  advanced  course  and  practice 
in  chorus  singing.     (240.     1907-08:197.) 

In  1910,  appreciation  of  music  was  added  to  the  summer 
studies.  (240.  1910:251.)  There  was  no  evidence  of  any  winter 
courses. 


136 

The  work  presented  is  of  such  minor  importance  that  it  is  not 
considered  in  the  light  of  a  chair  of  music,  as  shown  by  corre- 
spondence. (437.) 

By  act  of  incorporation,  1834,  the  legislature  recognized  the  founding  of 
the  "Oberlin  Collegiate  Institute."  In  the  little  clearing 
OBERLIN  COLLEGE  in  the  Ohio  forest,  pioneer  hands  began  the  work  of 
education,  which  was  to  flourish  for  future  generations. 
With  the  use  of  educational  ideals,  musical  activities  have  always  been  in- 
separably linked  in  "the  little  school  in  the  forest." 

It  was  the  time  of  Lowell  Mason,  Hastings  and  Bradbury,  when  singing 
schools  and  conventions  were  at  their  zenith.  It  marked  also  the  advance  of 
civilization  into  the  Great  West,  and  the  oncoming  of  a  great  educational 
activity.  Fortunately  for  the  early  settlers,  a  number  were  from  New  Hamp- 
shire, a  state  which  supported  a  vigorous  musical  society. 

President  Mahan  came  to  Oberlin,  determined  that  "sacred  music  should 
be  carried  to  its  highest  perfection."  So  the  catalog  of  1835  lists  a  "professor 
of  sacred  music." 

The  following  year,  through  poverty  and  dire  necessity,  a  blank  occupied 
the  place  reserved  in  the  catalog  for  the  professor  of  music.  As  if  assured  of 
better  days,  the  catalog  read  that  "particular  attention  will  be  paid  to  the 
cultivation  of  sacred  music."  After  a  lapse  of  two  years,  another  name 
appeared,  one  of  Oberlin's  music  apostles,  George  N.  Allen,  a  piipil  of  Mason. 

While  staging  through  northern  Ohio,  he  halted  to  pass  the  Sunday,  and 
because  of  his  musical  genius  he  was  urged  to  remain.  He  was  appointed 
"teacher  of  sacred  music"  which  title  became  "professor"  in  1841,  and  re- 
mained thus  down  to  1864,  but  with  various  other  subjects  attached  to  it  at 
different  times. 

For  more  than  a  quarter  of  a  century,  the  name  of  Allen  played  an  im- 
portant role  in  the  formative  period  of  Oberlin  College.  These  quotations 
were  taken  from  the  catalog,  and  show  the  nature  of  his  work:  1839-40 — "In- 
struction in  sacred  music  is  free  to  all.  Not  far  from  one  hundred  have  attended 
the  regular  classes  in  this  department."  A  year  later,  "not  far  from  two 
hundred  and  fifty  have  received  instruction  in  this  department  the  last  year." 
1841-42,  occurred  the  notice,  "during  the  past  year  an  increased  attention  has 
been  paid  to  the  study  of  sacred  music.  Systematic  instruction  has  been 
given  to  upwards  of  four  hundred  pupils,  including  a  large  class  composed  of 
young  children  of  the  citizens  of  the  village."  Five  years  later,  mention  is 
made  of  a  commencement  concert. 

From  1842  on,  the  announcement  is  made  regularly  that  "systematic  and 
thorough  instruction  in  music  is  given  to  all  who  wish  it.  A  large  portion  of 
the  members  of  the  institution  are  attending  to  this  branch  of  study." 

From  this  date  on,  the  term  "sacred"  was  omitted,  indicating  that  music 
was  no  longer  prized  only  for  religious  uses. 

In  1849,  notice  was  given  that  "instruction  in  instrumental  music  can  be 
had  also  at  moderate  charges."  In  1853,  this  announcement  was  made: 
"Although  instruction  in  instrumental  music  forms  no  part  of  the  course,  yet 
ample  opportunities  are  here  afforded  with  extra  charges  to  those  who  wish 
such  instruction.  Special  pains  have  been  taken  during  the  past  year  to 
provide  suitable  instruments  for  practice,  and  to  provide  thoroughly  com- 
petent teachers,  while  at  the  same  time,  the  terms  are  as  moderate  as  can 
possibly  be  afforded.  For  the  pianoforte,  the  terms  are  eight  dollars  a  quarter 
for  tuition,  and  the  usual  additional  charges  for  the  use  of  instruments." 
This  notice  was  repeated  until  1865,  except  that  tuition  raised  to  twelve 
dollars. 

It  is  almost  impossible  for  this  generation  to  realize  the  embarassments 
under  which  the  instructor  labored.  Conditions  were  primitive  and  finances 
were  low.  It  was  necessary  to  manufacture  material  for  use.  Except  for 
the  violin  of  the  teacher,  there  were  practically  no  instruments.  By  means 


137 

of  hard  labor,  an  orchestra  of  six  or  eight  was  collected.  A  double  bass  viol 
was  brought  into  being  by  the  mechanical  skill  of  a  young  Scotchman.  When 
it  seemed  impossible  to  procure  enough  copies  for  the  choir,  dies  were  obtained 
and  the  music  was  stamped  on  blocks  of  cherry  wood,  from  which  a  number 
of  copies  were  printed. 

The  piano  was  objected  to  in  earlier  times.  In  1840,  the  college  trustees, 
possibly  owing  to  lack  of  liking  for  secular  music,  resolved  that  "it  is  not 
expedient  to  introduce  piano  music  as  a  branch  of  instruction."  In  1841, 
they  were  in  correspondence  writh  a  firm  engaged  in  making  the  seraphina,  a 
rude  forerunner  of  the  modern  cabinet  organ,  which  was  highly  recommended 
because  it  "will  not  vitiate  the  mind  and  unfit  it  for  devotion  like  the  piano- 
forte. Not  because  the  piano  is  not  as  sweet  in  its  tones,  but  because  it  is 
not  well  calculated  for  slow  and  devotional  music,  and  will  not  in  such,  or  in 
any  other  times  sustain  a  full  harmony  of  sound."  The  next  year,  this  record 
was  made:  "It  is  the  sense  of  the  trustees,  that  the  style  of  sacred  music 
taught  be  in  accordance  with  what  is  understood  to  be  the  style  of  the  Man- 
hattan Collection,  or  of  Thomas  Hastings." 

The  first  piano  came  to  Oberlin  in  1841,  the  second  came  in  1842,  and 
was  placed  in  the  college.  In  1842,  Music  Hall  was  secured  by  the  united 
efforts  of  the  choir  and  literary  societies  of  the  college.  The  first  pipe  organ 
came  in  1855.  Concerts  and  musical  conventions  came  in  those  early  days, 
sometimes  under  the  management  of  Mason  and  Hastings.  No  trifling  was 
allowed  for,  if  need  be,  the  choir  was  publicly  prayed  for,  exerted  and  even 
rebuked  openly.  As  early  as  1841,  the  choir  was  a  legal  custodian  of  property, 
and  began  to  collect  a  musical  library. 

Another  phase  of  Oberlin's  musical  life  was  the  publication  of  song  books. 
In  1844,  "The  Social  and  Sabbath  School  Hymn  Book"  appeared.  While 
including  mild  camp-meeting  pieces,  and  hymns  upon  death  and  the  judgment, 
the  attempt  was  worthy  of  all  praise.  This  little  volume  was  used  for  forty 
years,  and  went  through  seven  editions,  each  one  containing  a  supplement  of 
new  songs. 

In  1875,  "Sacred  Songs  for  Social  Worship"  came  out.  A  third  attempt 
was  made  in  1880,  in  the  "  Manual  of  Praise,  for  Sabbath  and  Social  Worship," 
which  displaced  all  other  song  books  in  Oberlin.  During  the  entire  period, 
at  least  five  manuals  of  praise  were  published. 

With  the  incoming  of  the  fifties  came  the  dawn  of  a  new  era  to  Oberlin, 
and  to  its  musical  life.  Railroads  were  pushing  westward.  The  influence  of 
German  musicians  was  beginning  to  be  felt,  Italian  opera  as  well,  while  Jenny 
Lind  had  woven  her  spell  about  the  hearts  of  the  multitudes. 

In  1849,  Charles  Churchill,  a  member  of  the  choir,  came  across  a  set  of 
unused  pipes,  which  he  put  together  and  added  a  keyboard,  thus  fashioning 
the  first  organ  Oberlin  ever  had. 

In  1852,  the  Oratorio  of  Absalom  was  performed,  the  first  of  the  kind. 
Mason  was  there  to  instruct  and  drill.  It  was  then  that  portions  of  the 
Messiah  and  Creation  began  to  be  heard.  During  the  next  decade,  radical 
changes  came. 

Mr.  Allen  retired  in  1864,  and  in  1865  the  "Oberlin  Conservatory  of  Music" 
came  into  being  with  Morgan  as  "president  and  principal  of  sacred  music" 
and  Steele  as  "principal  of  the  department  of  secular  music."  The  institute 
was  established  "to  supply  a  want  generally  felt  by  those  interested  in  the 
cause  of  art." 

For  two  or  three  years,  the  conservatory  had  no  organic  connection  with 
the  college.  In  1869,  notice  of  "music  theory"  appeared  in  the  catalog. 
By  1871,  there  were  two  hundred  sixty-four  students  in  music. 

In  1883.  a  magnificent  structure  was  erected  in  three  sections  for  the  use 
of  the  music  school,  at  a  cost  of  $200,000. 

The  general  plan  of  the  conservatory  is  similar  to  that  of  European  schools, 
and  aims  at  the  production  of  intelligent  musicians  of  liberal  culture,  in  the 
various  branches  of  musical  activity. 

The  library  has  fourteen  thousand  musical  volumes.     (247.) 


138 

The  faculty  numbers  thirty-five  at  the  present  time,  some  of  them  of 
eminent  reputation. 

Requirements  for  admission  to  the  conservatory  are  those  of  the  college 
of  arts  and  sciences,  except  that  more  modern  language  may  be  accepted  in 
place  of  Latin. 

For  the  degree  of  bachelor  of  music,  three  studies  besides  history  of  music 
are  required,  two  of  which  must  be  pianoforte  and  theory.  The  third  may 
be  elected  from  organ,  voice,  violin,  viola,  'cello,  clarinet,  oboe  and  cornet. 

By  vote  of  the  faculty,  a  teachers'  certificate  may  be  given  to  those  who 
complete  successfully  either  course  in  theory,  with  two  other  studies,  and  who 
meet  the  literary  requirements,  but  who  for  some  reason  are  not  able  to  add 
the  special  work  leading  to  a  degree. 

Private  lessons  and  a  successful  recital  are  required  in  the  principal  study 
in  the  last  year. 

The  three  courses  of  theory  are  as  follows: 

Course  I  Course  II  Course  III 

Harmony 5  terms     Harmony 5  terms     Harmony 5  terms 

Ear  training ...  2  Ear  training 2  Ear  training 2 

Counterpoint .  .  1£  Canon  and  fugue .  3  Counterpoint ....  2 

Analysis  of  Analysis  of  form .  1  Canon  and  fugue .  3 

harmony  and  Free  composition .  3 

form 2| 

History  of  music  to  be  taken  with  any  of  the  above  courses. 

The  conservatory,  which  is  one  of  the  finest  of  its  kind  in  the  country,  has 
one  hundred  thirty-two  practice  rooms. 

The  tuition  for  class  lessons  a  term  in  applied  study  is  $20,  harmony 
and  ear  training  $6,  counterpoint,  canon  and  fugue,  etc.  $10,  public  school 
music  $8.  (248.  1912-13.) 

The  Ohio  University  had  a  college  of  music  employing  seven  teachers  in 
1908,  much  stress  being  placed  upon  a  liberal  education 
OHIO  UNIVERSITY  for  the  music  students.  A  normal  and  an  artist  depart- 
ment of  five  grades  was  offered  in  piano,  voice  and  violin. 
Additional  courses  were  offered  in  clarinet,  cornet,  mandolin,  guitar,  etc. 

In  the  normal  department,  a  great  effort  is  now  being  made  to  prepare 
teachers  for  the  profession  of  teaching  music  in  the  schools. 

Classes  are  offered  both  elementary  and  advanced,  in  theory  and  sight 
reading,  and  a  teachers'  method  class.  Two  years  are  required  for  beginners 
to  finish  the  course.  As  soon  as  prepared,  students  begin  teaching  in  the 
model  school  under  supervision.  Two  terms  of  public  school  music  are  required 
of  all  students  in  the  normal  college,  the  first  being  devoted  to  theory  and  sight 
reading  and  the  second  to  different  music  systems.  (241.  1908-09:83.) 

The  subjects  required  are  as  follows: 

1st  year  2d  year 

Voice  Theory  Voice  Music  methods 

Piano  Harmony  Piano  Teaching 

Psychology  Music  methods  Paidology         Principles  of  education 

Management  and       Observation  Harmony 
school  law  (241.     1911-12:97,140,161.) 

At  present,  the  college  of  music  is  much  like  a  standard  conservatory,  and 
employs  ten  teachers,  all  branches  being  offered. 

Three  classes  of  students  are  considered:  1st,  those  who  present  entrance 
requirements,  and  pursue  music  with  six  hours  of  college  work  toward  a 
diploma  and  a  degree;  2d,  college  students  who  wish  music;  3d,  specials 
who  take  no  college  work. 

The  bachelor  of  music  degree  requires  four  years.  Bachelor  of  education 
is  given  to  those  who  finish  the  music  course  in  the  normal  college. 


139 

The  four  year  college  course  in  music  now  requires  psychology,  paidology, 
principles  of  education,  German  or  French,  sociology,  and  modern  drama. 
(241.  1914— all  ref.) 

The  aim,  in  the  college  course,  is  to  require  four  studies,  a  major  and  a 
minor  in  applied  music,  and  complete  courses  in  harmony  and  history  of  music. 
The  candidate  must  complete  one  year  of  modern  languages,  and  must  offer 
a  high  school  diploma  course  for  admission.  The  ideal  course  requires  five 
to  six  years,  and  gives  full  training  in  both  college  and  musical  studies.  (241. 
1913-14— all  ref.) 

The  summary  of  attendance  for  three  years  is  as  follows: 

Music  enrollment      College  total 

1909-10 ..309 

1910-11 301          1,687 

1911-12 321          1,832 

(241.  1912-13:93.) 

Ohio  Wesleyan  University  has  a  school  of  music  with  thirteen  teachers, 
and  was  established  as  part  of  the  university 

OHIO  WESLEYAN  UNIVERSITY  in  1877.  It  aims  to  develop  both  professionals 

and  teachers.  All  are  admitted  from  the  be- 
ginning in  music  study. 

The  diploma  requires  some  special  line,  and  theoretical  study.  Com- 
pletion of  the  regular  literary  work  of  a  high  school  is  necessary.  Post-graduate 
courses  are  offered  in  the  four  regular  applied  branches. 

Music  courses  are  accepted  in  college  to  the  amount  of  eighteen  hours. 
Applied  study  is  accepted  when  fourth  grade,  and  to  the  extent  of  twelve 
hours.  (242a.  1913.) 

The  tuition  in  applied  study  is  $18  to  $33,  class  lessons  in  theory  $15, 
history  $5.  (242a.  1914.) 

The  music  enrollment  is  two  hundred  twenty-four,  total  college  attendance 
twelve  hundred  ninety. 

Miami   University   has   a   two   year   course   for   special 
MIAMI  UNIVERSITY    teachers  of  public  school  music.    The  course  is  as  follows: 

1st  year.  2d  year. 

Four  courses  in  music  Five  courses  in  music 

Education  Education 

English  Public  speaking 

Drawing  School  administration 
Physical  education 

A  combination  of  courses  may  be  made  so  that  a  diploma  in  music  and 
drawing  may  be  secured  in  three  years. 

The  normal  college  offers  elementary  music,  school  music,  harmony, 
history  of  music,  singing,  piano,  glee  club  and  choir  practice.  Harmony  and 
history  of  music  receive  three  hours'  credit  each  in  college  work.  (242b.) 

The  instruction  in  music  of  the  Baldwin  Wallace  College  is  given  by  the 
faculty  of  the  conservatory  which  is  connected 

BALDWIN  WALLACE  COLLEGE  with  the  college.  Students  taking  conservatory 

studies  receive  credit  not  to  exceed  thirty 

semestral  hours.  Applied  music  is  credited  to  the  extent  of  ten  semestral 
hours,  if  higher  than  fourth  grade. 

A  graduate  course  requires  no  college  study.  The  bachelor  of  music 
course  requires  entrance  requirements,  and  college  study  includes  French, 
German  and  English  literature,  besides  the  usual  standard  music  study  and 
theory. 

All  applied  branches  and  full  theoretical  studies  are  offered  in  the  con- 
servatory. The  tuition  in  applied  branches  is  $27  to  $37  a  year.  (243. 
1913-14:124,147.) 


140 

Western  College  for  women  has  a  department  of  music.     Theoretical  work 

includes   harmony,    counterpoint,    musical   appreciation, 

WESTERN  COLLEGE     history  of  music  and  ensemble.    Music  may  be  elected 

toward  the  A.  B.  degree,   but  no  student  can  receive 

credit  for  practical  work  in  both  music  and  art.     Students  electing  one  or 

more  courses  in  applied  music,  will  be  held  responsible  for  a  prescribed  course 

in  theory. 

With  full  college  work,  two  years  are  required  to  complete  a  course. 
Those  who  show  ability  and  finish  course  three,  are  entitled  to  a  diploma  in 
music. 

Organ,  violin  and  voice  each  offer  a  preparatory,  a  four  year  college  course, 
and  a  post  graduate  work.  (244a.) 

Western   Reserve  University  offers   courses  in  harmony,   counterpoint, 

history  of  music,  musical  form  and  analysis. 

WESTERN  RESERVE  UNIVERSITY     Harmony,  counterpoint  and  history  of  music 

are    offered    in    the    graduate    school    also. 
(244b.) 

University  of  Wooster  offers  both  applied  branches  and  theory.     Eight 

hours  of  music  may  be  applied  toward  the  A.  B. 

UNIVERSITY  OF  WOOSTER    degree    in    private    lessons,    not    over    ten   being 

allowed  for  class  study. 

No  credit  is  given  for  the  first  two  years  of  applied  music.     (245.) 
The  University  of  Cincinnati  offers  work  in  education  and  the  teaching 
of  music,  as  a  preparation  for  the  city  examina- 

UNIVERSITY  OF  CINCINNATI     tion  in  the  subject.     Courses  are  further  offered 

in  kindergarten  and  music  study,  and  criticism 
of  kindergarten  music,  with  one  credit.     (246.) 


INDIANA. 

The  University  of  Indiana  offered  chorus,  band  and  orchestral 
training  in  1909,  but  without  credit. 

UNIVERSITY  OF  INDIANA  Arrangements  could  be  made  with  the 

instructor  for  private  lessons  on  reed, 

wood  and  stringed  instruments.  Piano  lessons  could  be  obtained 
without  credit  in  the  university.  The  course  covered  a  two  year 
elementary  course,  a  four  year  advanced  course  and  an  artist 
course.  The  college  gave  a  certificate  to  those  who  finished  two 
years'  college  work,  advanced  piano  and  harmony  and  counter- 
point at  the  university.  The  latter  studies  gave  credit  toward 
a  degree  for  those  who  presented  entrance  requirements. 

During  the  winter  the  German  instructor  gave  a  series  of 
lectures  upon  the  history  and  development  of  music.  No  credit 
was  given,  the  work  being  intended  as  a  basis  for  musical  ap- 
preciation. (259.  1909-10:233.) 

At  present  the  following  courses  are  offered: 

History  of  music 3  hours  Oratorio  composers 2  hours 

Harmony  and  counterpoint .  .  2  Nineteenth  century  opera ....  2 

Musical  forms 2  Modern  composers 3 

Lectures  on  ear  training 1  The  symphony 2 

Orchestra  and  ensemble 2  Public  school  music 1 

Band . .  No  credit  Wagner's  music  dramas 2 


141 

The  music  courses  count  toward  a  degree,  and  also  entrance 
credit  in  a  sense,  since  such  work  is  credited  on  high  school 
diplomas. 

The  chair  of  music  has  existed  since  1910,  and  the  general 
aim  is  cultural,  with  the  same  attitude  as  is  shown  in  other 
studies.  The  department  has  been  very  successful.  It  employs 
two  instructors  and  several  assistants.  The  fall  term  enrolled 
one  hundred  eighteen. 

A  normal  department  is  just  being  established,  and  is  at 
present  incomplete.  (438.) 

The  University  of  Notre  Dame  offers  courses  in  violin,  piano,  voice, 
organ,  viola,  flute,  piccolo,  cornet,  trombone, 

UNIVERSITY  OF  NOTRE  DAME    guitar,   mandolin,   harmony,   composition, 

orchestration,    sight    reading,    orchestral    and 
band  training. 

The  following  conditions  must  be  fulfilled  to  obtain  the  bachelor  of  music 
degree:  The  candidate  must  have  been  a  resident  student  for  one  year,  must 
have  a  theoretical  knowledge  of  at  least  four  of  the  instruments  just  named, 
and  a  practical  mastery  of  one  of  them,  and  must  pass  an  examination  in 
harmony,  counterpoint  and  composition.  Two  original  compositions,  (a)  a 
fugue  for  full  orchestra,  or  four  voices  with  independent  orchestral  accompani- 
ment, (b)  a  composition  in  the  free  form  (sonata  or  rondo)  for  piano,  or  a 
trio  (pianoforte,  violin  and  violoncello.) 

The  tuition  for  piano  lessons  and  use  of  an  instrument  was  $60  a  year  in 
1903,  flute,  violin,  guitar,  cornet  or  clarinet  were  $30,  voice  $40. 

The  bachelor  of  music  degree  was  offered  for  the  first  time  in  1899,  with 
the  same  requirements  just  mentioned.  (250.  1902-03:29,92,96.)  In  1910, 
the  same  applied  courses  and  harmony  were  listed,  but  the  musical  degree 
had  been  dropped.  (250.  1909-10:5,171.) 

De  Pauw  University  has  a  school  of  music  with  ten  teachers,  which  is  an 
integral  part  of  the  university.     Systematic  study  is 

DE  PAUW  UNIVERSITY    made  of  piano,  organ,  voice,  violin,  viola,  violoncello 
and  other  orchestral  instruments,  elements  of  music, 

harmony  and  counterpoint,  canon  and  fugue,  composition,  conducting,  en- 
semble playing,  theory,  history  of  music,  chorus,  orchestra,  and  classes  in 
sight  singing  and  public  school  methods.  A  preparatory  and  a  collegiate 
department  are  offered,  and  later  a  four  year  graduate  course  of  study. 

Bachelor  of  music  is  conferred  upon  those  who  have  completed  a  liberal 
arts  course.  The  musical  course  requires  ability  to  read  fairly  well  from 
orchestral  scores,  and  to  arrange  for  string  quartet  and  chorus  with  orchestral 
accompaniment.  The  candidate  must  further  be  able  to  transcribe  from  the 
full  score  for  piano,  be  a  good  accompanist,  and  be  able  to  transpose  at  sight, 
piano  compositions  and  accompaniments  for  songs. 

Those  who  complete  the  usual  course  receive  a  certificate  of  graduation. 
The  end  of  the  junior  year  entitles  the  candidate  to  a  teachers'  certificate. 
The  requirements  for  the  latter  are  harmony,  sight  singing,  history  and 
language. 

The  course  is  as  follows: 

1st  year  2d  year 

Piano  Piano 

Chorus  or  sight  singing  Harmony 

Musical  history  and  biography  Chorus  or  sight  singing 

French  or  German  Advanced  history  and  biography 

Theory  of  sound 


142 

3d  year  4th  year 

Piano  Piano 

Counterpoint,  fugue,  form  Chorus,  biography 

Chorus,  recital,  biography  Ensemble 

Junior  recital  Senior  recital 

Theory  of  music 

Thesis 

Voice  has  a  further  requirement  of  two  years  in  piano,  when  the  former 
is  major  subject.  Violin  or  other  orchestral  instruments  have  the  same 
requirement. 

Tuition  for  applied  music,  two  lessons  a  week  for  a  year,  averages  $60  to 
$65,  theory  courses  $15  to  $30.  (251.) 

Correspondence  shows  that  the  De  Pauw  University  gives  credit  towaid 
a  degree,  as  well  as  entrance  credit.  The  chair  of  music  has  existed  for  two 
years,  and  allows  a  maximum  credit  of  six  hours.  The  aim  is  both  cultural 
and  professional.  There  are  fourteen  teachers  with  something  over  two 
hundred  enrolled.  (439.) 

PURDUE  UNIVERSITY    ^J™^1?™  Umversitv   had   no   department   of 
music.      \LiDLi.) 

Earlham  College  has  a  department  of  music  offering  piano,.. voice,  harmony, 
counterpoint,  musical  form  and  history  of  music.   Applied 
EARLHAM  COLLEGE    branches  are  divided  into  preparatory,  intermediate  and 
advanced  courses.     Besides  applied  study,  theory  and 
academic  study,  a  recital  is  required  for  graduation. 
A  public  school  music  course  is  given. 

Tuition  in  applied  branches  a  year  is  $51  to  $68,  theory  in  classes  $15. 
(253.) 

ILLINOIS. 

The  Illinois  Industrial  University,  later  known  as  the  Uni- 
versity of  Illinois,  had  piano  lessons  as 

UNIVERSITY  OF  ILLINOIS  early  as  1877.  Besides  private  work, 

each  one  attended  class  where  pupils 

played  in  the  presence  of  each  other,  and  listened  to  blackboard 
demonstrations  of  time,  rhythm,  etc. 

Piano  or  cabinet  organ  fees  were  fifty  cents  a  lesson,  harmony 
and  thorough-bass  in  class  $5.  (254.  1877-78:63.) 

The  next  year,  voice  lessons  were  added,  and  an  assistant 
teacher  provided.  (254.  1878-79:75.) 

By  act  of  the  legislature,  June  19,  1885,  the  name  of  the 
university  was  changed  to  the  University  of  Illinois.  (254. 
1885-86.) 

In  1892,  the  following  note  was  inserted  in  the  catalog: 
"  Music  is  no  part  of  the  university  course  of  studies,  but,  since 
many  desire  it,  competent  instructors  are  selected  by  the  trustees, 
and  rooms  set  apart  for  the  purpose.  Private  lessons  in  vocal 
music  and  voice  culture  are  given,  as  well  as  class  lessons." 
(254.  1892-93:140.) 

The  theoretical  courses  listed  for  1894,  were  history  of  music, 
theory  of  music  including  acoustics,  harmony,  counterpoint, 
figures,  etc.  The  aim  was  to  give  a  foundation  for  more  thorough 
and  advanced  study  of  music.  Theoretical  work,  but  not  applied 


143 

music,  could  be  taken  with  credit  in  the  college  of  literature. 
(254.  1894-95:33,148.)  ' 

In  1895,  music  students  could  receive  a  certificate  of  gradua- 
tion by  completing  the  entire  course  in  piano  or  organ,  and 
harmony  four  terms,  with  one  year  of  French  or  German.  Voice 
students  must  add  to  this  one  year  of  piano,  and  one  year  of 
Italian.  All  must  present  a  thesis  on  a  musical  subject.  The 
above  changes  were  the  result  of  a  reorganization  of  the  depart- 
ment at  this  time.  (254.  1895-96:53,58.) 

The  next  year,  applied  branches  were  further  differentiated 
into  a  preparatory  and  a  four  year  collegiate  course.  (254. 
1896-97:180.) 

A  school  of  music  with  four  teachers  was  organized  in  1897, 
with  courses  leading  to  bachelor  of  music  degree.  This  required 
forty  full  term  credits,  with  a  thesis  on  a  musical  subject. 

Requirements  in  studies  were  as  follows: 

Counterpoint 1  semester  Italian 3  hours 

Fugue 2  terms  Physical  training 2 

Musical  analysis 1  hour  Physics 1  4/5 

History  of  music 3  Rhetoric 2 

Major  study 17 

The  rest  of  the  credits  could  be  elected  from  the  college  of 
literature  and  arts. 

Those  not  working  for  a  degree  must  take  besides  the  major 
study,  harmony  four  terms  and  one  year  of  French  or  German. 
To  this  course  voice  students  must  add  one  year  of  piano  and  one 
of  Italian.  Special  and  preparatory  students  were  required  to 
take  enough  work  to  fill  in  their  time. 

Organizations  included  a  male  glee  club,  ladies'  glee  club, 
mandolin  and  guitar  club,  band,  orchestra  and  oratorio  society. 
(254.  1897-98:135.) 

In  1898,  the  musical  degree  required  one  hundred  thirty 
hours.  Those  not  working  for  the  degree  were  obliged  to  take 
thirteen  hours  of  harmony,  ten  hours  of  French  or  German, 
while  voice  students  added  one  year  of  piano  and  ten  hours  of 
Italian.  (254.  1898-99:143.) 

Ear  training,  sight  reading  and  public  school  methods  were 
added  in  1903.  A  teachers'  certificate  was  given  to  those  who 
finished  the  latter  course.  (254.  1903-04:145.) 

In  1906,  the  prescribed  courses  for  admission  to  the  school  of 
music  were  as  follows: 

Algebra 1£  units  History 1  unit 

English  composition .  .  1  Foreign  language 3 

Literature 2  Music 2 

Plane  geometry 1 

The  rest  of  the  fourteen  units  could  be  taken  from  electives. 
The  summer  session  listed  two  courses  in  history  of  music, 
and  violin.     (254.     1906-07:161,194.) 


144 


At  present,  the  faculty  numbers  eleven  teachers,  and  is  an 
integral  part  of  the  university.  Fifteen  entrance  units  are 
required  instead  of  fourteen. 

The  present  requirements  for  a  musical  degree  are  as  follows: 


1st  year 

Major  study 6  hours 

Harmony 2 

Ear  training 0 

Rhetoric 3 

French,  German  or  Italian ...  4 

Gymnasium 1 

Hygiene 1 

3d  year 
Counterpoint,  canon 

and  fugue 3  hours 

Major  study 6 

Sight  singing 1 

Education 3 

English  literature 4 

Acoustics  in  2d  semester 

instead  of  education . .         .  .  1 


2d  year 

Major  study 6  hours 

History  of  music 2 

Advanced  harmony 3 

Ear  training 1 

Sight  singing 0 

French,  German  or  Italian.  .  .4 

4th  year 

Free  composition 2  hours 

Major  study 6 

Acoustics 1 

Minorxstudy 2 

Recital 3 

English  versification 3 

English   and  acoustics   dropped   2d 

semester. 


PUBLIC  SCHOOL  MUSIC  COURSE 


History  of  music 

Harmony 

Ear  training .... 
Sight  singing .... 


.  4  hours 
.4 
2 

2 


Methods  of  teaching. 
Applied  major  study 
Applied  minor  study 


.   8  hours 

.12 

.   4 


Thirty-six  hours  are  required  to  finish  the  course  in  public 
school  music. 

A  resident  of  Illinois  pays  only  $12  incidental  fees  in  the 
school  of  music;  if  not  a  resident,  applied  tuition  is  $32.50  a 
semester,  and  $9  for  theoretical  work.  A  non-resident  student 
matriculated  in  another  department,  pays  the  fees  of  that  depart- 
ment, and  a  lower  conservatory  fee  of  $25  for  applied  study, 
theory  being  $9  a  semester.  If  a  resident  and  matriculated, 
only  the  fees  of  the  other  department  in  which  work  is  taken 
are  payable.  (255.) 

The  earliest  catalog  (in  the  library)  of  the  Chicago  University 
shows  only  musical  organizations. 

UNIVERSITY  OF  CHICAGO  Students  were  invited  to  join  the 

chorus,  glee  club,  orchestra  or  man- 
dolin club.  A  note  is  made  of  the  first  annual  concert,  by  the 
university  glee  club  and  mandolin  clubs  on  March  6,  1894. 

A  list  of  sixty-nine  names  of  first  ranking  artists,  including 
pianists,  vocalists,  violinists,  quartets,  etc.,  is  given,  all  of  whom 
had  appeared  at  chapel.  Five  concerts  had  been  given  at  the 
university  besides  these  artist  recitals.  (256.  1893-94:302.) 

The  following  year,  sixty-six  artists  appeared  again.  Musical 
lectures  and  recitals  were  scheduled  Wednesday  afternoon 
throughout  the  year.  The  glee  clubs  and  chorus  gave  a  number 
of  programs  outside  the  city.  (256.  1894-95:380.) 


145 

The  same  number  of  artists  appeared  in  1895,  as  in  1894. 
For  the  first  time  "voluntary  courses"  were  offered  in  elementary 
vocal  music,  harmony,  theory  and  history  of  music.  Lectures, 
recitals  and  organizations  continued  activity,  and  were  put  in 
the  Divinity  School  also.  (256.  1895-96:42,295.) 

Seventy-one  artists  appeared  in  1896,  other  courses  remaining 
unchanged.  (256.  1896-97:144,341.) 

In  1897,  the  "voluntary  courses"  consisted  of  elementary 
vocal  music,  advanced  chorus,  harmony,  counterpoint,  theory 
of  music  and  history  of  music.  Only  twenty-one  artists  appeared, 
while  four  church  choirs  had  assisted  at  the  university.  The 
chorus  gave  Messiah  with  artist  soloists.  Weekly  recitals  con- 
tinued, also  club  organizations.  (256.  1897-98:149.) 

The  latter  had  increased  to  nine  by  1899,  and  formed  the 
nucleus  of  musical  activity.  (256.  1899-00:143.) 

A  new  director  was  secured  in  1901,  and  the  "voluntary 
courses"  were  reduced  to  harmony,  history,  sight  singing,  voice 
training  and  church  music,  the  same  courses  and  instructor  being 
in  the  Divinity  School.  (256.  1901-02:305.) 

The  number  of  organizations  was  reduced  to  four  by  1902, 
the  subject  matter  of  these  courses  being  the  same.  (256.  1902- 
03:205.) 

The  next  year,  the  following  announcement  appeared  in  the 
courses  of  the  Divinity  School:  Sight  reading  and  voice  training, 
(a)  keys,  scales  and  simple  melodies,  (b)  exercises  for  freeing 
and  placing  the  voice.  Required  of  first  year  men.  (256.  1903- 
04:395.) 

By  1906,  the  only  organizations  were  the  women's  glee  club, 
band  and  university  choir.  (256.  1906-07:129.) 

The  instructor  died  in  1909,  and  the  "voluntary  courses" 
disappeared.  (256.  1909-10:208.) 

The  Divinity  School  had  this  notice  the  next  year:  (1)  Breath- 
ing and  tone  production  with  their  relation  to  the  speaking  and 
singing  voice.  (2)  Ear  training  and  sight  reading:  (a)  special 
emphasis  will  be  placed  on  a  thorough  understanding  of  the 
rudiments  of  music,  (b)  keys,  scales  and  simple  melodies,  (c)  order 
of  service,  (d)  hymns,  anthems,  chants  and  responses  required 
of  first  year  men  will  be  given  in  1911-12.  (256.  1910-11:399.) 

The  Divinity  School  has  practically  the  same  course  at 
present  as  in  1911,  and  the  same  organizations  exist  that  were 
given  in  1906,  a  choir,  glee  club,  women's  glee  club,  and  a  band. 
As  will  be  noticed,  the  work  given  is  less  comprehensive  now 
than  it  was  a  few  years  ago.  (256.  1913-14:346,485.) 

Facilities  for  the  study  of  music  have  existed  in  Northwestern 

University  since  1873,  when  the 

NORTHWESTERN  UNIVERSITY  Evanston  College  for  Ladies,  with 

its  music  department,  was  ab- 
sorbed. (257a.  1914-15:7.) 


146 

The  university  had  no  musical  work 'of  its  own  in  1891,  since 
an  appended  note  in  the  catalog  reads  to  the  effect  that  inquiries 
in  regard  to  the  conservatory  should  be  sent  to  the  director. 
(257a.  1891-92:7.) 

In  1892,  harmony,  simple  counterpoint  (canon  and  fugue, 
composition)  and  musical  history  were  put  in  the  college  course. 

All  branches  of  music  were  offered  with  theory  in  classes, 
applied  lessons  being  private  with  fees  attached.  The  three 
courses  offered  were  the  amateur,  professional  and  the  bachelor 
of  music  course.  Certificates  of  attainment  were  offered  at  the 
end  of  various  grades,  except  the  first,  if  harmony  had  been 
studied  at  least  three  years.  (257a.  1892-93:54,71.) 

In  1894,  the  courses  enlarged  sufficiently  to  include  two 
harmony  courses,  musical  form,  counterpoint,  double  counter- 
point and  canon,  fugue  and  free  composition,  free  composition 
and  instrumentation,  and  musical  history. 

The  first  four  courses  gave  a  normal  or  teachers'  certificate. 
Certain  proficiency  in  vocal  or  instrumental  music  gave  a  cer- 
tificate. Counterpoint,  composition  and  instrumentation  were 
open  only  to  talented  students  studying  toward  the  bachelor  of 
music  degree.  Theory  study  was  open  to  all  students  free  and 
with  due  credit.  Applied  studies  required  fees.  (257a.  1894- 
95:79.) 

The  next  year  was  distinguished  by  the  organization  of  a 
school  of  music  which  developed  from  the  former  department  of 
music.  The  aim  was  to  establish  a  thorough  professional  training 
school  in  the  higher  branches  of  musical  study.  The  theoretical, 
practical  and  the  creative  were  all  provided  for.  Twelve  teachers 
were  employed.  Two  general  schools  were  organized,  a  theoret- 
ical and  a  practical.  The  former  included  a  normal  or  teachers' 
course  and  an  advanced  course  leading  to  a  degree.  The  latter 
course  required  four  years,  and  was  open  to  students  in  the 
liberal  arts  school  without  extra  fees.  It  required  harmony, 
musical  form,  counterpoint,  double  counterpoint,  canon  and 
musical  history.  The  normal  course  required  harmony,  musical 
form,  counterpoint  and  musical  history. 

The  candidate  for  a  degree  must,  in  addition  to  higher  theory, 
compose  a  work  for  chorus  and  orchestra  of  some  length,  and 
introduce  examples  of  five  part  writing  and  contrapuntal  treat- 
ment of  voices,  also  prove  his  knowledge  of  English  literature, 
mathematics  and  his  choice  of  Greek,  Latin,  German  or  French. 
(257a.  1895-96:228.) 

The  1896  catalog  made  note  of  the  fact  that  the  old-figured 
basses  had  been  abandoned,  and  the  more  modern  idea  of  har- 
monizing melodies  substituted.  The  practical  branches  had 
resolved  themselves  into  a  normal  or  teachers'  course  and  an 
artists'  course.  (257a.  1896-97:108,221.) 

The  year  1897  saw  the  conservatory  in  its  own  building. 


147 

The  requirements  for  admission  into  the  practical  school  were 
one  year  of  voice  or  two  to  three  in  instrumental  study.  When 
the  preparatory  work  was  needed,  it  could  be  supplied  at  the 
conservatory  as  preparatory  study.  (257a.  1897-98:231.) 

For  1900,  the  theory  courses  included  the  certificate  course, 
the  diploma  course  and  the  course  leading  to  the  bachelor  of 
music  degree.  Practical  courses  offered  a  certificate  course, 
diploma  course  and  a  post-graduate  course.  (257a.  1900-01:276.) 

The  only  change  of  note  in  1901,  was  that  voice  culture  was 
offered  in  classes.  The  theory  courses  in  the  literary  school  were 
perhaps  slowly  expanding.  (257a.  1901-02:107.) 

1902  introduced  the  academic  literary  musical  course,  which 
substituted  one-fourth  of  the  regular  work  for  music.  The 
studies  included  Latin,  physiography,  algebra,  English,  Grecian 
and  Roman  history,  Greek,  biology,  plane  geometry,  physics, 
German  and  French.  The  collegiate  musical  course  was  a  con- 
tinuation of  the  academic  musical  course,  and  was  intended  to 
fit  for  professional  work.  Sixty  additional  hours  were  required 
leading  to  graduate  in  music. 

The  following  studies  were  pursued : 

3d  year  4th  year 

Harmony 2  hours      Ensemble 2  hours 

Analysis 2  Score  reading 1 

Counterpoint 1  English  literature ...  3 

Canon  and  fugue 1  Modern  language ...  4 

English  literature  or  modern  language.  .4  Applied  music 5 

Applied  music 5 

The  course  for  bachelor  of  music  called  for  sixty  hours  from  the 
academic  music  course,  and  the  first,  year  of  the  collegiate  music 
course,  one  year  of  canon  and  fugue,  instrumentation,  free  com- 
position and  physics,  and  a  work  of  some  length  for  chorus  and 
orchestra,  introducing  solos  and  tonal  fugue.  The  candidate 
must  also  prove  his  knowledge  of  English,  mathematics  and  one 
foreign  language.  A  post-graduate  course  required  further  study. 
A  certificate  of  performance  prescribed  two  years'  work.  (257a. 
1902-03:261.) 

Twenty-seven  teachers  were  employed  by  1903,  with  fifteen 
courses  in  the  college  of  liberal  arts.  (257a.  1903-04:129,277.) 

The  maximum  credit  for  music  allowed  on  the  college  course, 
was  twenty  semestral  hours  in  1904.  (257a.  1904-05:132.) 

A  public  school  music  methods  course  was  established  the 
following  year.  The  studies  required  were  harmony,  form, 
analysis,  musical  history,  sight  reading,  special  lectures  on  child 
voice,  methods  of  teaching,  chorus  conducting,  etc.  (257a. 
1905-06:297.) 

By  1907,  the  literary  musical  course  had  shaped  itself  to 
accommodate  high  school  pupils  especially.  One-fourth  of  the 
course  was  substituted  for  music.  The  required  school  studies 


148 

were  Latin,  physiography,  algebra,  English,  Grecian  and  Roman 
history,  Greek,  biology,  plane  geometry,  physics,  German  and 
French.  (257a.  1907-08:279.) 

In  1910,  the  public  school  music  course  increased  to  two 
years  with  a  diploma.  It  was  also  suggested  that  a  student 
prepare  himself  to  teach  other  branches  in  order  to  improve 
salary  and  efficiency.  The  schedule  was  so  arranged  that  these 
students  could  go  down  to  the  Chicago  Art  Institute  to  study 
drawing. 

The  work  put  in  for  two  years  was  as  follows: 

1st  year  2d  year 

Harmony  (form  and  analysis)         Harmony 
History  of  music  History  of  music 

Sight  reading  (vocal)  Form  and  analysis 

Public  school  methods  Chorus  and  choir  training 

English  High  school  methods 

Voice  or  piano  Psychology  and  pedagogy 

Physical  culture  (optional)  College  or  academy  study 

Voice  or  piano 
Physical  culture  (optional) 

A  two  year  course  in  normal  piano  methods  was  offered  in 
this  same  year.  (257a.  1910-11:265.) 

The  year  of  1911  offered  a  bachelor  of  music  degree  in  applied 
music,  as  well  as  for  a  course  of  theory  and  harmony.  (257a. 
1911-12:339.) 

A  normal  course  in  vocal  music  was  added  in  1912.  Public 
school  music  extension  as  introduced  in  1911  was  continued,  and 
had  direct  relation  with  the  teaching  in  Chicago  public  schools. 
(257a.  1912-13:321.) 

German,  French  and  Italian  language  and  dictation  courses 
were  placed  among  the  courses  in  theory  for  1913,  each  being 
especially  adapted  to  the  needs  of  the  singer.  (257a.  1913-14: 
316.) 

At  present,  the  faculty  numbers  thirty-six,  with  several  minor 
additions.  The  courses,  which  are  very  extensive  and  modeled 
after  those  in  the  college  of  liberal  arts,  are  as  follows:  Course 
in  applied  music  leading  to  bachelor  of  music,  course  in  theory 
and  history  of  music  leading  to  bachelor  of  music,  post-graduate 
course,  literary  musical  course,  course  in  public  and  high  school 
music  methods,  normal  course  in  vocal  methods. 

Entrance  admission  and  completion  of  the  course  gives  a 
diploma  in  music.  Completion  of  the  musical  course  without 
entrance  requirement  entitles  the  candidate  to  a  diploma  for 
musical  proficiency. 


149 

The  schedule  of  studies  for  all  students  is  as  follows: 

1st  year  2d  year 

Solfeggio  Ear  training  and  dictation 

Ear  training,  dictation  and  rudiments      History  of  music 
History  of  music  Harmony 

Harmony  Keyboard  harmony 

Keyboard  harmony  Form  and  analysis 

Applied  music  Applied  music 

Solo  classes  and  concerts  Solo  classes  and  concerts 

College  or  academy  study  and  physical      College  or  academy  study  and  physical 
culture  (optional)  culture  (optional) 

The  third  year  is  the  same  as  the  second,  except  that  counterpoint  replaces 
keyboard  harmony. 

4th  year  4th  year  (cont'd.) 

Ear  training  and  dictation  Vocal  composition 

Form  and  analysis  Applied  music 

Counterpoint  Solo  classes  and  concerts 

Instrumental  composition  College  or  academy  study  and 

physical  culture  optional 

Special  studies  for  each  branch  of  applied  music  are  added  each  year,  but 
not  required  of  the  entire  music  body,  such  as  language  diction  for  voice 
students,  or  ensemble  for  violinists. 

The  bachelor  of  music  course  in  theory  and  history  of  music 
is'as  follows: 

1st  year  2d  year 

Ear  training  and  dictation  Ear  training  and  dictation 

History  of  music  Form  and  analysis 

Harmony  Counterpoint 

Form  and  analysis  Instrumental  composition 

Counterpoint  Vocal  composition 

College  study  College  study 
Ensemble  and  physical  culture  optional      Ensemble  and  physical  culture  optional 

3d  year  4th  year 

Counterpoint  Instrumental  composition 

Instrumental  composition  Vocal  composition 

Vocal  composition  College  study 

College  study  Ensemble  and  physical  culture  optional 
Ensemble  and  physical  culture  optional 

In  addition  to  the  above  course,  the  candidate  must  offer 
one-fourth  the  total  number  of  credits  in  the  liberal  arts  college, 
one  study  being  general  physics.  A  composition  assigned  by 
the  faculty  must  be  scored  for  full  orchestra,  or  the  student 
must  present  an  original  piece  of  work  of  the  same  character. 

The  public  school  music  course  is  two  years  in  length,  and 
practically  the  same  as  the  one  outlined  in  1910.  The  normal 
piano  and  voice  courses  require  three  years  each.  Forty-one 
courses  in  theoretical  study  are  listed,  which  do  not  include 
those  in  applied  branches,  except  in  ensemble. 

Since*  1913,  study  has  been  offered  in  all  branches  during  the 
summer,  a  specialty  being  made  of  normal  piano  methods. 

Fees  for  applied  branches,  two  lessons  a  week  for  nine  weeks, 
are  as  follows:  Piano  $19  to  $45,  voice  $21  to  $50,  violin  $21  to 
$37,  and  organ  $25  to  $37.  The  rates  for  special  students  are 


150 

somewhat  higher  than  those  which  apply  to  regular  students. 
(257.6    2 

The  enrollment  in  music  and  the  total  college  attendance 
since  the  establishment  of  the  school  of  music  are  as  follows: 

School  of  music    College  total  School  of  music    College  total 

-96 70  3,016  1905-06 363  ^43 

1896-97 101  2,113  1906-07 328 

1897-98 112  2,019  1907-08..  4.036 

1898-99 114  2.0>4  1908-09..    ..309  "90 

1899-00....  .149  2,344  1909-10..       33>  4,487 

1900-01 1  L\24tf  1910-11..   3S4  -.T» 

1901-02 218  2,414  1911-12 378 

1902-03 268  2,731  1912-13 440  4,787 

1903-04 ;  .S31  1913-14 474  MM*  • 

1904-05 344  -31 

In  the  fall  of  1913,  the  Lombard  Studio  of  Vocal  Art.  Science  and  Education 

of  Chicago,  removed  to  Lombard  College,  as  a  result  of 

LOMBARD  COLLEGE    affiliation  with  the  latter  in  1912.    It  consists  of  a  rounded 

:  em  of  vocal  education.  The  work  is  divided  as  follows: 

1st  year:  Voice  building,  correct  poise  and  development  of  body,  breath- 
ing, individual  vocal  work,  elimination  process,  corrective  work,  construction 
work,  art  of  breathing,  diction,  tone  attack,  intervals,  songs. 

Supplementary  studies  are  history  of  music,  harmony,  ear  training,  and 
rhythm,  French,  German  or  Italian,  physical  expression,  development  of 
gymnastic  and  aesthetic  dancing,  interpretive  reading  and  action  songs. 

2d  year:  Equalization  of  vocal  sounds,  artistic  breathing,  execution, 
artistic  tone  attack  and  technic,  physical  expression,  advanced  interval  work, 
advanced  song  work. 

Supplementary  studies  are  language,  musical  analysis,  ensemble,  criticism. 
class  song,  analysis  and  action  song  classes,  creative  classes,  dancing  and 
interpretive  songs. 

3d  and  4th  years:  Artistic  voice  development,  perfection  of  inherent 
qualities,  artistic  execution,  artistic  breathing,  artistic  diction,  style  and 
delivery,  artistic  interpretation  of  songs. 

-  stematic  courses  are  given  in  piano,  violin,  art  and  science  of  teaching, 
and  theoretical  branches,  the  aim  being  a  balanced,  well  rounded  preparation. 

The  college  gives  the  A.  B.  degree  to  those  majoring  in  music,  upon  a 
basis  of  full  equality  with  other  studies.  The  coarse  is  as  follows: 

1st  year  2d  year 

Applied  music 4  hours      Applied  music : 4  hours 

Harmony 2  Harmony 2 

Ear  training 2  German  or  French 4 

Musical  historv 2  Public  speaking . .  2 

English 2  Elective 

Physical  education 2 

3d  year  4th  year 

Applied  music 4  hours  Applied  music 4  hours 

Theory -  Educational  psychology 

Language 4  Normal  course 

History  of  education 3  etive ..4 

Elective 4  2d  semester  recital  and  re-  * 

places  psychology 4 

The  fees  for  private  lessons  in  voice  are  $90  a  semester,  three  in  a  class 
$45,  four  $36,  six  in  a  class  $25,  piano  $25,  class  of  two  with  daily  lessons  $25. 


151 


Hedding  College,  a  Methodist  school,  has  a  conservatoty  of  music  em- 
ploying five  teachers.  The  course  includes  piano,  voice, 
HEDDING  COLLEGE  violin  and  theory.  Graduation  in  piano  requires  six 
years  from  the  beginning  of  student's  piano  lessons.  In 
addition,  elementary  theory,  harmony,  counterpoint,  musical  history  and  sight 
reading  are  required.  A  teachers'  certificate  is  given  to  those  who  finish  the 
fourth  year  in  piano,  with  harmony  and  sight  reading. 

Graduation  in  voice  requires  four  years  of  voice,  three  of  piano,  and 
theory,  harmony,  sight  reading,  musical  history,  recital,  French  and  German. 

The  bachelor  of  music  degree  was  conferred  in  June,  1908. 

The  tuition,  two  lessons  a  week  for  a  year,  piano  is  $14  to  $57,  organ  $14 
to  $64,  voice  $38  to  $47. 

The  attendance  in  musical  courses  is  one  hundred  thirty-three,  for  all 
'  departments  it  is  two  hundred  twenty.  (260.) 

Monmouth  College  has  a  conservatory  with  seven  teachers.  A  graduate 
must  have  a  good  English  education,  and  one  year's 

MONMOUTH  COLLEGE  work  in  college  in  modern  languages,  or  English,  with 
harmony,  counterpoint  or  analysis,  theory  and  history 

of  music,  a  recital,  except  in  the  teachers'  course,  where  special  work  is  done 
for  teaching  preparation.  Completion  of  the  junior  year  gives  a  certificate, 
if  harmony  and  interpretation  have  been  taken  and  a  recital  given.  Piano 
requires  four  years  for  graduation,  organ  three. 

A  candidate  in  voice  must  complete  harmony,  history  of  music,  biograph- 
ical history,  interpretation  course,  recital,  and  is  advised  to  take  analytical 
harmony,  as  well  as  French  and  German.  Three  years  of  piano  are  necessary 
for  graduation  in  voice. 

College  credit  to  the  amount  of  eight  hours  may  be  taken  from  harmony, 
counterpoint,  history  of  music,  interpretation  and  analysis  one  hour  each. 

The  attendance  upon  musical  courses  in  1914  was  two  hundred  thirty-six, 
total  college  enrollment  four  hundred  thirty-eight. 

The  tuition  in  voice  and  organ,  two  lessons  for  a  year,  is  $54  to  $80,  piano 
$39  to  $80,  harmony  in  class  $28. 

A  course  in  public  school  music  is  given  in  addition  to  the  above.     (261.) 

James  Millikin  University  has  a  school  of  music  employing  eight  teachers. 

MMES  M.LL.KIN  UNIVEKS.TY     £^k±ta&"K    ™    *    "^^    « 

Instruction  is  given  in  piano,  voice  and  violin.  The  course  is  divided 
into  elementary,  academic  and  collegiate.  A  diploma  is  given  to  a  student 
who  has  been  in  the  collegiate  department  one  year,  and  has  completed  the 
required  work  in  any  department.  A  certificate  is  given  for  specified  work  in 
the  collegiate  school. 

Teachers'  normal  department  in  piano  requires  two  years  and  gives  a 
teachers'  certificate.  The  literary  musical  course  is  the  regular  college  course 
with  a  substitution  of  one-fourth  music. 

Harmony,  sight  reading,  ear  training  and  history  of  music  are  free.  The 
piano  tuition  for  a  year,  two  lessons  a  week,  is  $36  to  $128,  voice  $72  to 
$128,  violin  $64.  Applied  music  in  classes  of  three  or  four  is  much  less. 

The  musical  attendance  in  1907  was  four  hundred  eighty-seven,  total 
college  enrollment  being  seven  hundred  fifty-six.  (262.) 

The  department  of  music  of  Rockford  College  employs  five  teachers,  and 

offers  courses  in  piano,  organ,  violin,  voice  and  theory. 

ROCKFORD  COLLEGE    The    latter    course    includes    sight    singing,    teachers' 

fundamental   training   course,   two   years   of   practical 

teaching,   harmony,   counterpoint,   eanon  and  fugue,  history  of  music  and 

choral  training. 

Entrance  requirement  is  a  high  school  graduation,  the  college  course 
being  as  follows: 


152 

1st  year  2d  year 

Piano,  two  hours  practice  Piano,  two  hours  practice 

Harmony  Harmony 

English  English 

French  or  German  French  or  German 

3d  year  4th  year 

Piano,  three  hours  practice  Piano,  four  hours  practice 

Harmony  Counterpoint 

History  of  music  Elocution 

Sight  singing  Voice 

Voice  Elective,  four  hours 
History  of  art 

All  graduates  take  piano  and  voice,  whether  majoring  in  piano,  voice, 
violin  or  organ. 

The  two  year  certificate  course  requires  a  high  school  education  and 
technical  training  equal  to  the  sophomore  year.  The  course  includes  for  first 
year,  applied  major,  fundamental  course,  sight  singing,  French  or  German 
and  English;  the  second  year  requires  applied  major,  fundamental  course, 
harmony,  history  of  music,  history  of  art,  voice  and  elocution. 

The  college  has  only  twenty  enrolled  in  music,  two  hundred  six  as  the 
total  attendance.  (263.) 

Lake  Forest  College  offers  musical  courses  in  Terry  Hall,  a  girls'  prepar- 
atory school  and  junior  college,  which  is  affiliated. 

LAKE  FOREST  COLLEGE  Piano,  voice,  violin,  harp  and  harmony  are  taught. 
The  tuition  for  a  semester  in  piano  is  $50  to  $90, 
voice  or  violin  $50.  (264.) 

Carthage  College  has  courses  in  music.  For  voice  graduation,  a  high 
school  education  is  necessary,  with  a  year  of  French, 

CARTHAGE  COLLEGE  German,  harmony,  history  of  music,  and  two  grades  in 
piano. 

Courses  are  given  in  piano,  organ,  chorus,  ensemble,  normal  work,  harmony 
two  years,  and  history  of  music. 

Piano  and  v6ice  tuition  are  each  $27  a  semester,  chorus  work  $3  a  year, 
harmony  $18  a  year.  (265.) 

Illinois  Wesleyan  University  has  a  school  of  music  about  twenty  years 

old.  Courses  are  offered  in  piano,  voice, 

ILLINOIS  WESLEYAN  UNIVERSITY  violin,  'cello,  theory,  counterpoint,  com- 
position and  pedagogy,  under  thirteen 
teachers. 

Candidates  for  teachers'  certificates  or  teachers'  diplomas  are  required  to 
take  a  carefully  prepared  normal  course.  No  degrees  are  given. 

Tuition  for  violin  and  voice  for  ten  weeks  is  $20  each,  theory  in  class  $5 
for  ten  weeks. 

For  entrance  admission,  history  of  music  may  be  offered  as  elective  to  the 
amount  of  one-half  unit  credit. 

Two  hundred  ninety-four  are  enrolled  in  music,  six  hundred  seventy-eight 
in  the  entire  college.  (266.) 

Ten  teachers  are  employed  in  the  Knox  College  conservatory,  which  was 

established  in  1883.     It  has  complete  courses  in  all  lines. 

KNOX  COLLEGE     Diplomas  require  a  high  school  graduation  and  sixty-eight 

hours  of  study  in  addition.     The  bachelor  of  music  degree 

requires  ninety-four  hours,  as  follows: 

Harmony  two  years 8  credits  Senior  recital  and  graduation .  10  credits 

Counterpoint 2  Minor  study,  preparatory 

Ear  training 4  certificate 10 

Musical  history 4  Free  composition  and 

Interpretation  and  ensemble .   1  analytical  harmony 6 


153 

Major  study,  preparatory  Free  composition 6 

department 10  Counterpoint,  canon  and 

Major  study,  intermediate  fugue 8 

department 13  Regular  college  course 6 

Full  graduation  in  minor ....  6 

A  public  school  music  course  is  outlined  "on  an  educational  plan." 

The  fees  are  75  cents  to  $2  a  lesson.     (267.) 

Augustana  College  and  Theological  Seminary  has  a  conservatory  estab- 
lished in  1887,  and  employing  eleven  teachers, 

AUGUSTANA  COLLEGE  AND     the  aim  being  to   obtain   "a  broad  intellectual 

THEOLOGICAL  SEMINARY        education  for  the  music  student."  One-half  to  one 

unit  may  be  offered  as  an  elective  entrance  credit. 

The  teachers'  certificate  course  requires  five  years,  with  three  literary 
subjects  each  year.  The  major  study  may  be  piano,  voice,  violin  or  organ. 
The  theory  course  includes  harmony,  counterpoint,  form  and  analysis, 
orchestration,  history  of  music,  sight  singing,  Italian,  French  and  German, 
one  year  of  each,  or  two  of  one  and  a  year  of  another  language,  ensemble 
accompaniments,  psychology  and  normal  work.  All  these  courses  are  free  to 
the  music  student  except  harmony,  counterpoint,  and  applied  branches. 
Two  or  more  private  lessons  of  the  latter  entitle  to  three  theoretical  subjects, 
and  three  studies  in  the  academy,  without  extra  charge.  A  diploma  is  given 
in  any  applied  branch,  including  teachers'  course. 

The  following  studies  are  required  in  the  teachers'  course: 

1st  year  2d  year 

Piano  Piano 

Theory  Theory 

Arithmetic  Christianity 

United  States  history  Geography 

English  English 

3d  year  4th  year 

Piano  Piano 

Theory  Theory 

Christianity  English 

English  History 
Modern  language  or  Latin 

5th  year 
Piano  and  theory 

Voice,  organ  or  violin  have  three  years  each,  being  a  duplicate  of  the  3d, 
4th  and  5th  years  as  outlined  above,  in  each  case  making  the  necessary  sub- 
stitution for  the  major  course  in  applied  music. 

Public  school  music  offers  the  following  course: 

1st  year  2d  year 

Notation  Methods 

Ear  training  Practice  teaching 

Sight  singing  Ear  training 

Child  voice  Harmony 

Harmony  Pedagogy  and  psychology 

History  of  music  Art  of  conducting 

Elementary  psychology  in  college  Essentials 

Rote  songs  Melodic  construction 

Chorus  Sight  singing 

Piano  and  voice  History  of  music 

Piano  and  voice 

A  maximum  of  ten  credits  are  allowed  the  college  students  toward  the 
A.  B.  degree. 


154 

The  tuition  approximately  for  a  year  in  piano  or  organ  is  $54  to  $98, 
voice  $90,  violin  $72  to  $90,  classes  in  theory  average  $28. 

The  musical  enrollment  was  two  hundred  sixteen  for  1914.     (268.) 

MICHIGAN. 

In  1871,  Professor  Frieze  "introduced  choral  music  into  chapel 

exercises,  a  feature  which  was  highly 

UNIVERSITY  OF  MICHIGAN  appreciated  by  the  students."  Jn 

1880,  the  University  of  Michigan  put 

in  music,  and,  at  the  same  time,  a  "school  of  music"  was  estab- 
lished in  Ann  Arbor,  which,  "although  it  has  no  direct  connection 
with  the  university,  receives  its  aid  and  encouragement  in  every 
way."  The  same  head  instructor  served  in  both  capacities. 
(270.  1880-81:50.) 

The  early  courses  consisted  of  science  and  practice  of  choral 
music  and  harmony,  the  same  courses  being  listed  in  the  science 
and  arts  school  as  electives.  (270.  1880-81:50.) 

In  1881,  a  second  year  of  choral  music  was  added,  three 
semesters  of  harmony  and  simple  counterpoint.  A  teachers' 
diploma  was  offered  to  those  who  completed  two  full  courses  in 
science  and  practice  of  choral  music,  and  one  and  three-fifths 
courses  in  harmony.  A  diploma  could  be  procured  by  the  com- 
pletion of  two  and  four-fifths  full  courses  in  harmony,  and  one 
and  three-fifths  courses  in  science  and  practice  of  choral  music. 
The  candidate  must  be  able  to  play  a  plain  four  voice  fugue. 
A  full  course  was  equivalent  to  five  exercises  a  week  in  class, 
laboratory  or  lecture  for  one  semester.  (270.  1881-82:55.) 

A  ladies'  chorus  and  a  male  chorus  was  put  in  by  1884,  the 
theoretical  studies  numbering  ten.  (270.  1883-84:62.  1884- 
85:64.) 

Composition  and  instrumentation  could  be  studied  if  desired 
in  1889.  (270.  1889-90:58.) 

Critical  analysis  of  musical  forms,  musical  aesthetics,  fugue, 
history  of  music,  advanced  pianoforte  or  organ  playing  (the  last 
course  open  only  to  candidates  for  a  degree,  or  those  who  showed 
great  musical  ability)  were  the  list  of  courses  added  in  1890. 
Piano  study  could  be  taken  only  by  those  able  to  play  master- 
pieces of  the  grade  of  Beethoven  Sonata  Op.  26,  theoretical  work 
being  required  in  connection.  (270.  1890-91:59.) 

Musical  criticism  was  added  in  1892  (270.  1892-93:72.), 
music  in  the  ethical  relations  in  1894.  Summer  courses  were 
added  for  the  first  time  in  1894,  and  consisted  of  public  school 
music,  harmony  and  history  of  music.  (270.  1894-95:76,131.) 
Private  lessons  in  organ  were  offered  the  next  summer.  (270. 
1895-96:218.) 

There  were  seventeen  courses  by  1897,  but  with  not  much 
demand,  especially  those  leading  to  higher  composition,  since 
the  years  following  listed  the  same  but  omitted  the  teaching. 


155 

Public  school  music  was  listed  in  the  winter  course  in  1902. 
(270.  1897-98:73.  1898-99:73.  1900-01:79.  1901-02:79.  1902- 
03:79.) 

In  1905,  the  catalog  states  that  "under  conditions  credit  may 
be  obtained  in  the  Ann  Arbor  school  of  music  toward  university 
credit."  This  was  not  to  exceed  two  hours  a  semester,  and  could 
be  given  in  advanced  work  in  piano,  organ,  violin,  voice,  "under 
conditions  to  be  learned  upon  application."  (270.  1905-06:45, 
90.) 

In  1909,  a  seminar  course  was  added  for  discussion  of  import- 
ant problems  in  history,  theory  and  criticism  of  music,  also  one 
on  the  evolution  of  the  modern  orchestra.  The  course  in  critical 
aspects  aimed  now  to  deal  with  the  .sociological  bearings  of  the 
art.  (270.  1909-10:131.) 

By  1912,  the  division  of  courses  had  fallen  naturally  into, 
(1)  technical  courses  including  canon  and  fugue  and  advanced 
applied  music,  (2)  historical  and  critical  courses.  The  last 
division  included  creative  listening,  history  of  music,  music  in 
its  critical  and  ethical  aspects,  evolution  of  musical  instruments 
and  the  seminar.  (270.  1912-13:169.) 

The  University  School  of  Music  of  Ann  Arbor  is  the  product 
of  the  University  Musical  Society  and  was  organized  in  1880, 
at  the  same  time  that  the  chair  of  music  was  placed  in  the  uni- 
versity. Its  board  of  directors  includes  the  president  of  the 
university,  several  instructors,  and  other  prominent  citizens. 
The  head  of  the  school  of  music  is  also  professor  of  the  musical 
department  in  the  university.  So,  while  not  a  department  of 
the  university  in  a  legal  sense,  it  is  intimately  connected,  and 
has  a  curriculum  in  accordance  with  university  ideals.  This 
relation  has  always  existed  since  the  school  of  music  was  organized. 

Practical  music  taken  at  the  school  of  music  receives  regular 
university  credit,  if  it  is  sufficiently  advanced. 

The  aim  is  to  build  the  musician's  life  upon  a  broad  and 
thorough  education,  under  the  firm  conviction  that  the  musical 
taste  of  all  should  be  developed  to  the  highest  stage  of  artistic 
ability.  To  this  end,  the  fees  are  put  to  the  lowest  limit  of 
actual  cost. 

The  teaching  staff  includes  fifteen  teachers  of  considerable 
ability.  Courses  are  offered  in  voice,  piano,  organ,  violin,  violon- 
cello and  orchestral  instruments,  orchestra  and  ensemble  playing, 
solfeggio,  harmony,  counterpoint,  canon,  fugue,  composition, 
conducting,  history  of  music,  analysis  of  music,  art  and  science 
of  teaching,  public  school  music  methods,  and  a  course  in  draw- 
ing in  connection  with  school  music. 

The  diploma  is  granted  to  those  who  have  attained  skill  in 
performance,  and  have  an  accurate  knowledge  of  the  theoretical, 
historical  and  critical  aspects  of  music  as  an  art.  The  artist 
diploma  is  granted  to  those  who  complete  work  in  two  distinct 


156 

lines,  demonstrative  and  theoretical.  The  demonstrative  con- 
sists of  enough  applied  study  to  give  a  program  in  public  from 
memory.  The  theory  work  consists  of  class  lessons  in  solfeggio, 
harmony,  counterpoint,  history,  analysis,  composition  and  en- 
semble work.  A  normal  course  has  the  same  requirements  as 
the  artist  course,  except  the  program  is  given  before  the  director 
and  teachers  instead  of  before  the  public,  and  a  certain  amount 
of  time  is  given  to  the  pedagogical  side  of  the  work.  The  course 
was  established,  first,  to  supply  the  need  for  well  equipped 
teachers;  secondly,  some  through  nervousness  or  lack  of  voice 
or  other  reasons,  still  make  excellent  teachers,  and  are  deserving 
of  this  recognition.  (272.  1913-14:10,14.) 

The  public  school  music  course  covers  two  years,  and  includes 
two  years  of  methods,  solfeggio,  sight  reading,  history  of  music, 
each  being  one  year,  singing  two  years,  piano  one  year,  with 
experience  teaching  during  the  senior  year.  Beginning  with  1914, 
a  candidate  must  have  a  high  school  education  in  order  to  take 
a  certificate.  In  response  to  demands  from  schools  for  the  com- 
bined subjects  of  music  and  drawing,  a  department  of  drawing 
is  supported  to  meet  this  request.  (272.  1913-14:23.)  Graduates 
from  either  or  both  of  these  courses  are  granted  life  certificates, 
without  further  examination. 

In  all  the  music  courses,  the  studies  are  purely  musical,  no 
academic  work  being  expected  even  for  the  public  school  music 
course.  (272.  1913-14:27.) 

Reciprocal  relations  exist  between  the  school  of  music  and 
the  Ann  Arbor  high  school,  in  which  music  may  be  studied  each 
year  for  four  years  with  credit.  Any  of  the  courses  may  be 
combined  with  music  in  this  way.  The  high  school  music  course 
will  not  admit  to  the  university,  since  only  in  exceptional  cases 
can  the  work  be  done  in  less  than  five  years.  (272.  1913-14:28.) 

Brief  mention  should  be  made  of  the  choral  union  with  its 
membership  of  three  hundred,  which  came  into  existence  as  the 
result  of  an  interest  in  choral  work,  stimulated  by  a  successful 
concert  given  in  1879.  As  a  result,  the  University  Musical 
Society  was  founded  in  1880,  under  state  laws,  with  the  object 
of  establishing  and  conducting  a  school  of  music,  a  symphony 
orchestra,  and  a  series  of  concerts.  From  the  first  concert  of 
the  union  to  the  reorganization  in  1889,  fifty  concerts  were  given. 
The  final  concert  in  the  festival  series  of  1913  to  1914,  was  the 
two  hundred  seventy- third.  The  first  annual  May  festival  was 
held  in  1892.  Only  Worcester  and  Cincinnati  have  a  larger 
number  of  performances  to  their  credit.  During  these  years, 
the  choral  union  has  been  assisted  many  times  by  the  best  talent 
in  orchestral  lines,  artist  soloists  and  string  quartets,  while  the 
finest  works  have  been  presented.  (272.  1913-14:30.) 

An  unusually  valuable  collection  owned  by  the  University  of 
Michigan  is  the  Stearns'  musical  instruments  collected  by  Mr. 


157 

Stearns  and  presented  to  the  university.  It  is  a  scientific  collec- 
tion of  over  a  thousand  instruments,  exhibiting  the  different 
forms  of  percussion,  wind  and  stringed  instruments,  with  a  view 
to  showing  the  evolution.  A  course  of  lectures  is  given  upon 
the  evolution  of  musical  instruments,  while  the  collection  is 
available  for  the  purpose  of  investigation  and  special  work  on 
the  solution  of  problems.  (272.  1913-14:67.) 

No  entrance  credit  is  allowed  for  music  in  the  University  of 
Michigan,  but  it  counts  toward  college  degrees. 

The  university  supports  two  instructors,  the  school  of  music 
thirty.  From  one  hundred  fifty  to  two  hundred  enroll  in  the 
university  musical  courses,  about  four  hundred  fifty  in  the 
conservatory.  (442.) 

The  Olivet  Conservatory  of  Music  was  established  in  connection  with 
Olivet  College  in  1874,  for  the  purpose  of  combining 
OLIVET  COLLEGE  musicianship  with  general  intellectual  culture.  The  bachelor 
of  music  degree  is  given  to  those  who  have  completed  the 
work  of  the  regular  courses,  one  of  which  must  be  piano,  the  second  may  be 
organ,  violin  or  voice.  Diplomas  are  granted  for  the  completion  of  the  single 
courses,  piano,  or  organ  with  two  years  of  piano,  or  violin  with  two  years  piano, 
or  voice  with  two  years  of  piano.  History  of  music  and  three  years  of  theory 
are  required  of  all  graduates.  Candidates  for  the  musical  degree  must  meet 
entrance  requirements,  as  well  as  the  necessary  literary  studies.  A  graduation 
recital  is  required. 

The  studies  required  for  a  diploma  are  history  two  units,  natural  science 
one  unit,  algebra  one  unit,  German  two  units,  French  one  unit,  English  four 
units,  Bible  one-half  unit.  Theory  work  covers  three  years  and  includes 
sight  reading,  history,  ear  training,  harmony,  advanced  harmony,  harmonic 
analysis,  and  counterpoint. 

In  compliance  with  the  state  laws,  a  special  course  of  study  is  arranged  to 
prepare  public  school  music  teachers.  The  first  year  includes  rudiments, 
harmony,  ear  training  and  voice,  the  second  year  has  methods,  practice  teach- 
ing, harmony,  harmonic  analysis,  musical  history  and  voice.  If  taken  in 
combination  with  drawing,  it  requires  three  years  to  finish  the  course.  Three 
units  of  English  are  required. 

Electives  in  music  may  be  chosen  for  A.  B.  degree  not  to  exceed  four 
units,  of  which  not  over  two  units  may  be  taken  in  choral  or  choir  training, 
and  not  over  two  in  history,  ear  training,  harmony,  or  counterpoint. 

The  tuition  in  voice  or  piano,  two  lessons  for  a  semester  is  $25.50,  one 
private  lesson  in  orchestral  instruments  $19.75,  organ  two  lessons  a  week 
$27.50,  class  lessons  in  harmony  $7.50,  public  school  music  $7.50..  (273.) 

Hillsdale  College  has  a  department  of  music  supporting  four  teachers. 
The  students  in  this  department  are  advised  to  select 

HILLSDALE  COLLEGE  a  variety  of  subjects  in  the  collegiate  department,  in 
planning  their  courses. 

Eight  hours  in  harmony  and  counterpoint,  and  eight  hours  of  applied 
music  singly  or  a  combination,  may  be  offered  toward  the  A.  B.  degree  in  the 
liberal  arts  school.  Many  of  the  academic  students  avail  themselves  of  this 
opportunity,  on  account  of  the  cultural  value,  and  the  life  long  satisfaction 
derived.  Diplomas  are  granted  to  those  who  complete  either  of  the  full  courses 
with  a  recital,  and  harmony,  counterpoint,  form,  and  history  of  music  as 
theoretical  requirement. 

Piano  includes  five  grades,  voice  four,  violin  five,  while  an  organ  course  serves 
to  prepare  for  church  positions.  A  two  year  course  in  public  school  music  is 
offered.  The  requirements  for  the  normal  diploma  are  practically  the  same 


158 

as  those  for  the  artist  diploma,  which  equals  a  four  year  course  of  sight  singing, 
harmony,  musical  history,  piano,  voice,  German  Lieder,  oratorio  and  opera, 
analysis,  with  the  distinction  that  the  diploma  for  school  music  and  drawing 
need  only  embrace  two  years  of  preparation,  and  the  recital  may  be  private 
before  the  committee,  instead  of  public.  Those  who  enter  this  course  must 
have  had  considerable  musical  training  beforehand,  and  a  high  school  education. 

No  provision  seems  to  be  made  for  music  as  an  entrance  subject.  Of  the 
forty-two  electives  in  college,  twelve  may  be  in  music,  fine  arts,  oratory  and 
expression,  household  economics  or  commercial  study. 

Theory  of  music,  chorus  and  choir  training  are  free,  harmony  and  counter- 
point $9  a  semester,  lessons  in  applied  music  averaging  from  $1  to  $1.60  a 
lesson. 

The  enrollment  in  music  in  1913  was  one  hundred  sixty-nine,  total  of  all 
departments  four  hundred  ninety-seven.  (274.) 

Alma  College  has  a  school  of  music  offering  all  branches,  including  public 

school  music.     Voice,  piano  and  violin  include  five  grades, 

ALMA  COLLEGE     organ  three.    Besides  theory  work,  German,  French,  history, 

science  and  college  English  are  required  in  order  to  graduate 

in  music. 

The  number  enrolled  in  the  school  of  music  averages  one  hundred  twenty- 
three,  in  the  entire  college  three  hundred  ten. 

Tuition  averages  $22  to  $25  for  the  applied  branches,"  $4  to  $8  for  theory 
'courses.  (275.) 

Kalamazoo  College  has  a  year  each  of  harmony  and 
KALAMAZOO  COLLEGE    history  of  music  listed  in  the  courses.     (276.) 

WISCONSIN. 

The  University  of  Wisconsin  gave  recognition  to  music 

teachers  in  the  years  of  1876  to  1884. 

UNIVERSITY  OF  WISCONSIN  There  were  classes  meeting  once  a 

week.  One  was  devoted  to  the 

elements  of  music  combined  with  reading  vocal  music,  and 
admitted  without  restriction.  The  second  class  was  devoted  to 
the  practice  of  glees,  choruses  and  part  songs.  Those  who 
entered  were  expected  to  read  plain  music.  Private  lessons  in 
voice,  piano  and  harmony  were  open  to  any  of  the  students 
pursuing  a  regular  course  of  study,  who  made  application  and 
paid  the  necessary  fees.  The  instruction  in  voice  and  piano  was 
intended  to  be  thorough  and  progressive.  (277.  1884-85:78.) 

Mention  is  made  in  the  1888  catalog  that  harmony  could  be 
taken  as  an  elective,  counting  two-fifths  credit  during  the  first 
two  terms,  with  two  recitations  a  week.  (277.  1888-89:120.) 

An  assistant  was  added  in  1892.  (277.  1892-93:85.)  In 
1893,  the  courses  had  expanded  to  musical  theory  and  choral 
practice,  elementary  harmony,  advanced  harmony  and  counter- 
point. (277.  1893-94:104.) 

In  1894,  by  order  of  the  board  of  regents,  a  school  of  music 
was  opened  with  eight  teachers.  The  aim  was  to  furnish  in- 
struction in  all  branches  of  theoretical  and  applied  music.  The 
listed  subjects  included  organ,  piano,  voice,  orchestral  instru- 
ments, mandolin,  guitar,  banjo,  musical  theory,  choral  practice, 
harmony  and  counterpoint.  Applied  lessons  were  private, 


159 

theory  lessons  in  class.  University  students  could  take  any  of 
the  classes  as  elective  and  receive  credit. 

There  were  two  general  courses,  a  collegiate  course  with  the 
same  admission  requirements  as  the  general  courses  in  the  college 
of  letters  and  science,  with  some  musical  proficiency.  A  graduate 
diploma  could  be  secured  in  three  years,  but  four  were  recom- 
mended, allowing  time  for  general  studies. 

The  second  or  academic  course  was  open  to  those  who  did 
not  wish  to  enter  the  university  toward  graduation.  Upon  the 
payment  of  the  usual  fees,  these  persons  were  admitted  to  the 
music  classes,  but  not  as  candidates  for  graduation  or  diploma. 
A  certificate  of  excellence  was  given  in  this  course  after  not  less 
than  three  years  of  study. 

The  piano  requirement  for  entrance  to  the  collegiate  course 
was  the  grade  of  Haydn  sonatas,  there  being  no  requirement  to 
enter  the  academic  course.  The  work  of  the  latter  led  up  to 
and  overlapped  that  of  the  collegiate  course.  After  reaching  the 
proper  stage,  a  student  could  be  transferred  or  not,  as  he  desired. 
The  last  three  years  were  identical  in  both  courses. 

The  university  further  supported  an  orchestra,  band  and 
choral  union. 

The  tuition  in  applied  music  for  the  semester  ranged  from 
$18  to  $25  for  private  lessons,  while  classes  of  three  in  piano 
could  be  had  for  $18.  Theory  courses  were  free.  (277.  1894- 
95:210.) 

For  1905,  the  course  outlined  in  the  college  of  letters  and 
science  were  as  follows: 

Musical  theory  and  practice . .  2  hours      Double  counterpoint  and  fugue  .3  hours 

Elementary  harmony 2  Composition 2 

Advanced  harmony 3  History  of  music 2 

Advanced  piano,  voice,  violin  and  organ  were  open  to  juniors 
and  seniors  only.  Credit  could  not  exceed  ten  semestral  hours. 
Public  school  music  counted  as  two-fifths  credit,  advanced  study 
in  orchestral  music  as  one  hour.  Theoretical  courses  were  free 
to  students,  and  open  with  credit  to  all  but  freshmen;  from 
others  a  fee  of  $10  a  semester  was  exacted.  Composition  and 
counterpoint  were  ranked  as  graduate  work  in  the  school  of 
music.  (277.  1905-06:212,335.) 

The  following  year,  a  course  was  put  in  on  principles  of 
musical  education.  (277.  1906-07:213,404.) 

A  summer  course  included  elementary  and  advanced  public 
school  music,  choral  music,  each  two  hours,  conference  "one  hour 
and  orchestra.  (277.  1907-08:459.)  The  following  year,  history 
of  music  took  the  place  of  conference  and  orchestra  in  the  summer 
course,  which  was  again  replaced  by  musical  appreciation  in  1909. 
(277.  1908-09:469.) 

Instrumentation  and  ensemble  were  added  in  1909,  to  the 
courses  in  the  school  of  letters  and  science.  The  academic 


160 


department  of  music  was  abolished  also,  in  order  to  bring  the 
music  department  and  the  college  into  better  accord.  This 
forced  all  music  students  to  meet  college  entrance  requirements, 
although  specially  talented  students  could  enter  who  were  not 
quite  able  to  meet  the  standard.  Credit  in  theoretical  work  to 
students  not  in  the  music  course  was  limited  to  twenty.  No 
fees  were  required  for  these  courses,  which  were  elective  for  all 
but  freshmen. 

No  entrance  requirements  were  necessary  in  organ  of  itself; 
voice  required  about  fifty  lessons  of  concord,  piano  required 
performance  of  Mozart  sonatas. 

Graduation  in  music  required  the  following  subjects,  being 
practically  the  present  course: 


1st  year 

Applied  music 2  credits 

Elements  of  music 2 

Harmony 2 

Ear  training  and  sight 

reading 1 

English 3 

French,  German  or  Italian . .  4 

Physical  training 0 

Musical  form,  2d  semester .  .  2 

3d  year 

Applied  music 2  credits 

Counterpoint 2 

Physics 2 

Musical  appreciation 2 

English,  French  or  Italian 

literature 3 

Elective 4 

Masterpieces  of  music,  2d 

semester 2 

Electives,  2d  semester 6 


2d  year 

Applied  music 2  credits 

Advanced  harmony 2 

Ear  training  and  sight 

reading 1 

History  of  music 2 

French,  German  or  Italian . .  4 

English 3 

Elective 2 

Physical  training 0 


4th  year 

Applied  music 

Instrumentation 

Ensemble 

Public  speaking 

Elective 

Thesis  or  recital .  . 


.  .  .  .2  credits 
....2 

1 

....3 

....5 
..2 


2d  semester  same 


Voice  students  must  have  two  years  of  piano  and  were  exempt 
from  ensemble,  but  substituted  choral,  counterpoint  to  be  omitted. 
Organ  candidates  were  required  to  take  piano  two  years,  violin 
students  must  meet  the  same  standard  of  piano  playing.  One 
hundred  twenty  hours  were  required  for  graduation.  Elective 
could  be  in  music  or  in  other  university  departments. 

A  supervisors'  course  in  school  music  required  two  years, 
but  could  be  done  in  one  by  those  who  had  previous  musical 
training.  The  studies  required  were  methods,  practice  teaching, 
conducting, 'harmony,  history  of  music,  sight  reading,  ear  train- 
ing, musical  appreciation,  masterpieces  of  music  and  elementary 
education. 

Public  school  music  and  appreciation  of  music  were  further 
listed  as  university  extension  or  correspondence  courses  for  the 
first  time.  (277.  1909-10:194,398,422.) 


161 

In  1911,  public  school  music  candidates  were  advised  to 
devote  some  time  to  the  study  of  school  drawing.  (277.  1911- 
12:461.) 

By  1912,  the  courses  of  study  in  the  school  of  letters  and 
science  include  theory  of  music,  sight  reading,  ear  training, 
elementary  harmony,  public  school  music,  advanced  harmony, 
counterpoint,  double  counterpoint,  canon  and  fugue,  musical 
composition,  instrumentation,  musical  appreciation,  masterpieces 
of  music,  history  of  music,  applied  music,  ensemble,  orchestral 
music  and  choral  music,  all  on  a  university  credit  basis.  (277. 
1912-13:231.) 

The  summary  of  attendance  for  the  years  since  the  oganization 
of  the  school  of  music  is  as  follows: 

Music  Total 
enrollment    student  attendance 

1895-96 181  1,598 

1896-97 145  '1,730 

1905-06 209  3,571 

1906-07 191  3,659 

1907-08 203  4,013 

1908-09 305  4,538 

1909-10 143  (incomplete)  4,947 

1910-11 316  5,538 

1911-12 416  5,936 

1912-13 560  5,523 

1913-14 644 

The  late  catalog  of  the  conservatory  lists  sixteen  teachers 
upon  the  faculty. 

An  important  change  is  that  during  1914-15,  courses  are 
shaping  toward  requirement  for  bachelor  of  music  degree.  The 
collegiate  courses  are  equivalent  to  those  outlined  before.  It 
will  be  noted  that  eight  courses  are  outlined  in  public  school 
music,  and  that  through  combination  with  other  studies  are 
tending  to  lengthen  to  three  or  more  years.  The  reader  will 
recall  that  the  table  of  supervisors,  given  in  the  first  part  of  the 
thesis,  showed  this  feature  to  be  very  prominent  in  the  North 
Central  Division.  The  college  section  shows  this  tendency  very 
strongly  in  all  those  states.  Wisconsin  suggests  drawing,  manual 
training,  physical  education,  domestic  science  and  domestic  art 
as  available  minors. 

Properly  prepared  students  in  other  departments  can  arrange 
to  take  public  school  music  with  a  total  of  at  least  sixteen  hours, 
which  will  entitle  them  to  special  certificates  to  teach  music. 
Some  of  the  phases  studied  are  the  psychological  and  pedagogical 
aspects,  supervisors'  problems,  place  of  music  in  the  schools  of  a 
democracy,  and  sources  of  material,  with  practice  teaching. 

A  strong  feature  of  the  school  is  the  extension  movement  or 
correspondence  study  department.  Nine  courses  are  offered  with 
approximate  credit,  and  cover  subjects  in  elementary  music, 


162 

harmony,  public  school  music,  appreciation  of  music,  history  and 
community  music.  The  latter  phase  is  peculiarly  interesting, 
since  it  deals  with  the  solution  of  the  problem  of  diffusing  musical 
activity  in  local  centers,  radiating  from  a  university. 

Wisconsin  purposes  to  institute  a  system  of  "exchange  con- 
certs" with  representative  universities  and  schools  of  music,  and 
has  already  done  so  to  some  extent. 

Tuition  for  all  applied  branches  two  lessons  a  semester  is  $36, 
theoretical  subjects  are  free  to  residents,  non-residents  $50. 
(278.— all  ref.) 

Beloit  College  employs  one  instructor.    Courses  are  given  in  elementary 

music,  harmony,  counterpoint,  history  of  music,  apprecia- 

BELOIT  COLLEGE    tion  of  music  and  public  school  music.     The  courses  in 

music  can  be  elected  only  by  consultation  with  the  head 

of  the  department.     (279.) 

Lawrence  College  has  a  school  of  music.    Four  year  courses  are  given  in 

vocal  and  instrumental  music.    The  music  courses  com- 

LA WHENCE  COLLEGE    pleted  give  a  certificate,     the  degree  course  leads  to 

bachelor  of  music  degree. 

The  department  aims  to  prepare  for  concert  work,  music  teaching,  and 
public  school  music  teaching.  (280.) 

Ripon  College  has  a  school  of  music  with  five  teachers.    The  aim  is  to 

provide    a   sound   intellectual   training,    with   symmetrical 

RIPON  COLLEGE    development   of   the   musical   faculties.     All   the   work   is 

planned  to  this  end.     Preparatory  courses  are  arranged  to 

meet  the  needs  of  those  below  the  college  requirements.     Applied  music 

embraces  a  four  year  course. in  piano,  organ,  violin  and  voice. 

The  theory  courses  include  elementary  theory,  advanced  sight  reading, 
musical  appreciation,  harmony,  counterpoint,  and  musical  history.  A  two 
year  course  in  public  school  music  includes  the  following  studies: 

1st  year  2d  year 

Rudiments  Methods  of  teaching 

Advanced  sight  reading  Practice  teaching 

Harmony  Harmony 

Musical  history  Analysis  of  musical  form 

Ear  training  Musical  appreciation 

Voice  culture  Pedagogy 

Voice  or  piano 

Candidates  for  graduation  must  have  a  high  school  education,  and  as 
college  studies,  history  two  units,  science  one  unit,  algebra  one  unit,  German 
two  units,  French  one  unit,  English  three  units,  besides  giving  a  public  recital. 

The  requirements  for  the  bachelor  of  music  degree  are  two  applied  branches, 
one  being  piano,  three  years  of  theory  and  history  of  music,  and  four  hours 
of  college  study  each  semester  for  four  years.  Beyond  this,  the  student  may 
elect  his  work. 

Private  pupils  are  recived -without  connection  with  the  university. 

The  tuition  for  piano,  voice  and  pipe  organ  two  lessons  a  semester  averages 
$40  to  $45,  violin  $20.  Classes  in  elementary  theory  and  choral  are  open  to 
all  students  free.  Harmony  fees  are  $12,  public  school  music  $10. 

The  total  music  enrollment  in  1913  was  eighty-three,  for  the  entire  school 
two  hundred  thirty-one. 

The  maximum  credit  allowed  toward  an  A.  B.  degree  is  twelve  hours. 
Theory  and  history  of  music  are  credited  as  college  electives.  (281.) 

Marquette  College  records  a  glee  and  a  mandolin  club,  orchestra  and  a 
band,  but  no  teacher  being  designated,  nor  are  there 

MARQUETTE  COLLEGE      any  musical  courses.      (282.) 


163 

MINNESOTA. 

As  early  as  1897,  the  following  item  appeared  in  the  catalog 

of  the  University  of  Minnesota: 

UNIVERSITY  OF  MINNESOTA  "Students  who  are  sufficiently  ad- 
vanced in  music  are  allowed,  under 

certain  conditions,  to  take  instrumental  or  vocal  music  through 
the  junior  and  senior  years,  provided  no  student  shall  receive 
over  six  credits  in  music  and  fine  arts  together. 

"A  pianist  must  be  able  to  play  Czerny's  Velocity  Studies,  a 
vocalist  must  read  with  fair  readiness,  and  have  a  good  enough 
voice  to  justify,  the  least  practice  being  eight  hours,  including 
lessons,  the  character  of  the  work  to  be  reported  on  each  term. 
The  lessons  are  to  be  taken  in  the  Northwestern  Conservatory 
and  paid  for  by  the  student.  Special  rates  are  made  to  university 
students."  (283.  1897-98:86.) 

No  change  occurred  until  1910,  when  the  six  hours'  credit 
mentioned  above  could  all  be  in  music,  art  being  omitted.  (283. 
1901-02:94,204.)  The  following  year,  the  credit  was  reduced  to 
four  hours.  (283.  1902-03:88.) 

The  aim  of  the  courses  was  to  acquaint  students  with  the 
laws  underlying  composition,  and  to  enable  them  to  arrive  at 
the  keenest  perception  and  appreciation  of  masterpieces. 

A  fee  of  $2  was  attached  to  either  of  the  first  two  courses, 
the  second  and  third  together  being  listed  at  $5,  third  alone  was 
$2.  Those  who  were  music  specials  were  obliged  to  take  one 
college  study.  (283.  1905:95.) 

The  following  year,  music  specials  were  obliged  to  present 
entrance  credits,  and  must  register  for  harmony  and  piano  with 
six  hours  in  another  department.  The  courses  in  college  included 
harmony,  counterpoint,  musical  form  and  free  composition, 
pianoforte  in  class  or  private,  choral  culture,  and  history  of  music 
for  juniors  and  seniors,  fees  $4. 

The  first  three  courses  gave  two  hours'  credit  each,  one  piano 
lesson  a  credit  and  a  half,  two  piano  lessons  allowing  two  credits. 
History  of  music  gave  one  credit. 

A  certificate  of  proficiency  was  offered  for  completion  of  the 
theoretical  courses,  two  years  of  piano  study  and  ability  to  play 
a  concerto,  and  in  addition,  must  show  decided  musical  talent. 
(283.  1906-07:51,79,125.) 

A  glee,  mandolin  club  and  a  band  were  maintained  by  the 
students. 

The  only  new  requirement  in  1908  was  that  twelve  credits 
were  exacted,  not  including  pianoforte  and  choral  training. 
Three  to  six  hours'  credit  were  allowed  in  each  piano  course,  at 
the  rate  of  $32  to  $34  a  course.  (283.  1908-09:185.) 

In  1909,  the  statement  was  made  in  the  catalog  that  the 
music  department  offered  a  minor,  but  not  a  major.  The  course 
introduced  no  change.  (283.  1909-10:205.) 


164 

At  present,  the  university  has  a  four  year  course  in  music 
leading  to  an  A.  B.  degree.  Of  the  one  hundred  twenty  required 
hours  for  this  degree,  fifty-four  to  fifty-eight  must  be  in  other 
departments  than  music.  Six  to  nine  hours  a  semester  apart 
from  music  is  the  maximum  allowed,  with  twelve  to  fifteen  hours 
practice.  The  outlined  course  for  A.  B.  degree  in  music  is  as 
follows: 

1st  year  2d  year 

Applied  major  Applied  major 

Harmony  Counterpoint 

Rhetoric  Chorus  or  orchestra 

Foreign  language  Acoustics 

History  2d  semester,  experiemental 

psychology 

Foreign  language  and  English 
literature,  or  beginning  for- 
eign language 

3d  year  4th  year 

Applied  major  Applied  major 

History  of  music  Musical  composition  or 

Musical  composition  or  analysis         Canon  and  fugue 
Chorus  or  orchestra  Chorus  or  orchestra 

Modern  language  English  literature 

English  literature  or  history  Elective 

Elective  (283.     1913-14:36.) 

Correspondence  shows  that  entrance  credit  in  music  is  not 
given,  nor  does  the  subject  rank  with  other  studies.  There  are 
five  instructors  in  the  department. 

A  normal  training  department  for  the  training  of  public 
school  music  teachers  exists  in  the  school  of  education. 

The  number  enrolled  in  the  music  course  is  thirty-four. 

A  very  interesting  idea  of  the  director  of  music  is  the  desire 
to  organize  choruses  in  every  town  in  the  state.  (444.) 

Macalester  College  has  a  conservatory  of  music  for  professional  and 
amateur  students.  The  aim  is  to  combine  music 

MACALESTER  COLLEGE  and  college  work,  and  thus  create  a  taste  for  great 
art  in  music. 

The  courses  include  piano,  voice,  organ,  violin,  other  stringed  instruments, 
harmony,  counterpoint,  composition,  public  school  music,  history  of  music 
and  analysis.  The  end  of  the  second  year  offers  a  certificate.  Graduation 
requires  three  years  of  major  study,  advanced  harmony,  composition,  form, 
etc.,  and  a  recital.  A  piano  post  graduate  course  is  offered.  A  public  school 
music  department  has  just  been  established,  normal  in  character,  and  one 
year  in  length. 

Music  may  be  elected  in  the  third  and  fourth  years,  with  two  hours'  college 
credit  each  semester. 

The  piano  tuition  for  a  year  is  $28  to  $45,  voice  $54  to  $90,  violin  $36, 
harmony  $12,  public  school  music  in  class  $15.  (284.  1909:60.) 

The  enrollment  in  music  was  forty-nine  in  1910,  total  college  attendance 
being  three  hundred  ten.  (284.  1910:37,97.) 

Gustavus  Adolphus  College  has  a  conservatory.  Piano  is  offered  in 
preparatory,  intermediate,  junior  and  senior 

GUSTAVUS  ADOLPHUS  COLLEGE  courses,  each  requiring  one  to  two  years,  the 

last  three  leading  to  a  certificate  in  each 


165 

separate  division  of  piano  study.  A  graduate  course  of  one  to  two  years  is 
added  to  these,  and  offers  a  diploma. 

Organ  has  practically  the  same  courses  as  piano.  The  voice  course 
requires  voice,  history  of  music,  harmony,  musical  form,  analysis,  English, 
German,  sight  singing,  ear  training,  chorus  and  piano  at  least  one  year.  The 
course  requires  two  to  three  years  of  study.  The  violin  course  requires  en- 
semble and  orchestral  practice  instead  of  piano. 

The  literary  requirements  for  graduation  are  a  high  school  education. 

The  piano  tuition  for  a  semester  is  $23  to  $68,  organ  or  voice  $68,  theory 
$18,  elementary  harmony  and  history  of  music  being  free. 

Music  enrollment  is  eighty-three,  that  of  the  entire  college  eleven  hundred 
thirty-eight.  (285.) 

St.  Olaf  College  (Lutheran)  has  a  school  of  music,  courses  elective,  and 
receive  the  same  credit  as  similar  studies  in  other  depart- 
ST.  OLAF  COLLEGE  ments.  Piano,  voice  and  violin  equal  a  four  year  standard 
course.  Public  school  music  was  established  in  September 
1912,  with  the  aim  of  preparing  teachers  or  supervisors.  The  course  requires 
two  years'  study,  and  includes  primary  methods,  song,  games,  care  of  child 
voice,  grammar  and  high  school  methods,  harmony,  counterpoint,  musical 
analysis,  history  of  music,  sight  singing,  interpretation,  chorus,  conducting, 
psychology  of  singing,  psychology  and  pedagogy,  English,  observation,  and 
practice,  private  lessons  in  piano  or  voice.  A  teachers'  certificate,  honored 
by  the  state,  will  be  given  for  the  two  year  course. 

Music  students  in  the  preparatory  course  are  obliged  to  take  five  hours 
in  the  academy,  or  four  in  college.  Graduates  must  give  a  recital  in  both 
the  junior  and  senior  years. 

The  music  courses  listed  in  the  college  department  are  harmony,  advanced 
harmony,  musical  analysis,  history  of  music,  simple  and  double  counterpoint, 
canon  and  fugue,  advanced  history  of  music,  composition,  instrumentation 
and  orchestration.  Eight  semestral  credits  may  be  obtained  for  applied 
music,  twelve  for  theoretical  study. 

Violin  tuition  a  semester  is  $45,  piano  $25  to  $45,  voice  $36  to  $45,  public 
school  methods  $10,  theoretical  branches  $15. 

The  last  music  enrollment  was  one  hundred  sixty-five,  college  total  five 
hundred  eight.  (286.) 

Carleton  College,  a  Congregational  school,  has  a  conservatory.     Four 

grades  are  offered  in  piano,  voice,  violin  and  organ.    For 

CARLETON  COLLEGE    bachelor  of  music,  the  candidate  must  have  completed 

a  high  school  course.    The  major  study  must  be  selected 

from  the  above  list,  as  well  as  a  minor.    Voice  graduates  must  take  piano  as  a 

minor.     Four  years  of  theoretical  work  are  required  in  harmony,  counterpoint, 

canon,  fugue  and  composition.     Two  years  each  of  French  and  German  are 

prescribed  in  the  voice  course. 

The  total  number  of  hours  for  graduation  is  one  hundred  twenty  hours, 
twenty-three  being  theoretical  music  study,  an  applied  major  of  eighty  hours, 
or,  if  voice,  only  forty  hours,  applied  minor  sixty  hours,  the  rest  of  the  credits 
to  be  selected  from  college  studies.  A  recital  and  a  thesis  upon  some  subject 
closely  related  to  music  are  required.  The  candidate  must  also  score  for 
orchestra,  a  composition  assigned  by  the  faculty  (possibly  a  movement  from 
a  Beethoven  sonata)  or  an  original  composition  for  chorus,  soli  and  orchestra 
may  be  substituted. 

A  special  normal  course  in  piano  is  offered  for  teachers  of  considerable 
experience,  in  order  to  perfect  their  knowledge  of  modern  piano  methods. 
A  teachers'  certificate  is  given  for  the  completion  of  the  first  and  second  grades 
in  major  subject,  with  two  years  of  harmony  and  one  year  of  teaching  ex- 
perience. The  course  requires  a  recital  from  memory  and  a  thesis. 

Voice  tuition  for  a  semester  is  $72,  piano  $54  to  $63,  violin  $54,  harmony, 
counterpoint  and  composition  $14,  history  of  music  $4. 

The  last  music  enrollment  was  eighty-two,  total  college  attendance  foui 
hundred  thirty-two.  (287.) 


166 

Albert  Lea  College  has  a  music  department  offering  piano  and  voice. 
ATRPM?T  TT?A  POT  T  FOP  Theory  includes  sight  singing,  ear  training,  harmony, 
ALBERT  LEA  COLLEGE  history  of  music  and  musical  appreciation. 

Graduation  requires  four  years  of  piano  or  voice,  besides  harmony,  history 
of  music  and  one  year  of  college  work.  The  voice  candidate  must  have  a 
knowledge  of  piano. 

Credit  in  college  counts  as  follows:  Two  lessons  in  applied  music  equals 
one  semestral  credit,  the  same  credit  for  one  lesson  in  harmony  or  history  of 
music.  Not  over  ten  credits  may  count  toward  the  A.  B.  degree. 

Piano  fees  for  a  semester  are  $27  to  $36,  voice  $36,  harmony  $8,  other 
studies  in  class  $1.50  to  $5.  (288.) 

Parker  College  has  a  school  of  music  aiming  to  teach  music  in  the  broadest 
sense.  Graduates  must  finish  the  regular  five  grades,  two 
PARKER  COLLEGE  years  of  harmony,  and  a  semester  each  of  history  and 
theory  of  music. 

A  teachers'  certificate  requires  four  grades  of  applied  study,  harmony, 
history  of  music  and  theory  of  music. 

Courses  are  given  in  piano,  voice  and  violin,  each  five  grades. 

Fees  for  applied  study  a  semester  are  $18  to  $36,  harmony  $9,  history 
and  theory  being  free. 

The  music  enrollment  was  one  hundred  nineteen,  entire  college  record 
two  hundred  twenty  in  1910.  (289.) 

IOWA. 

As  early  as  1867,  the  Iowa  State  University  had  this  para- 
graph in  the  catalog:  "The  State  Normal 

UNIVERSITY  OF  IOWA  Academy  of  Music  at  Iowa  City,  affords 
peculiar  advantages  to  those  who  desire 

the  very  best  instruction  in  vocal  and  instrumental  music.  This 
academy  continues  its  sessions  during  the  entire  collegiate  year, 
and  holds  special  session  during  the  long  or  summer  vacation 
when  the  students,  released  from  the  regular  classes  of  the 
university,  may  devote  all  their  time  to  the  study  of  music." 

The  single  item  "vocal  music"  was  listed  among  the  studies 
for  the  spring  term.  (290.  1867-68:29,41.) 

In  1869,  the  general  course  had  vocal  music  in  the  second  and 
third  years,  and  an  instructor  in  music  among  the  faculty  mem- 
bers. (290.  1869-70:25.) 

Admission  to  the  normal  department  in  1870,  required  an 
examination  in  algebra,  geometry,  natural  philosophy,  chemistry, 
astronomy,  physiology,  botany,  mediaeval  and  modern  history, 
analysis  of  English  language,  penmanship,  bookkeeping,  vocal 
music  and  linear  drawing,  and  strongly  urged  to  prepare  in 
Latin  and  German.  (290.  1870-71:6,39.) 

The  following  item  was  inserted  in  1876:  "Mr.  Woollett, 
vocalist  from  London,  and  Mr.  Litcomb,  instructor  in  instru- 
mental music,  having  permanently  located  in  Iowa  City,  offer 
to  students  of  the  university  the  best  opportunity  for  the  culture 
of  the  voice,  and  for  acquiring  a  knowledge  of  the  piano  and 
organ."  (290.  1876-77:35.) 

In   1883,   the   catalog   announced   that   "students   desiring 


167 

instruction  in  music  will  find  ample  opprtunity  in  Iowa  City." 
(290.     1883-84:37.) 

No  further  notice  was  taken  until  1898,  when  a  glee  club, 
minstrels,  and  a  mandolin  club  were  spoken  of.  (290.  1898-99 :114.) 

Among  the  administrative  officers  in  1900,  appeared  a  music 
board  of  five  members  (290.  1900-01:7),  and  in  1901,  Prof.  Sea- 
shore, head  of  the  psychology  department,  was  made  a  member 
of  this  board.  (290.  1901-02:7.) 

An  oratorio  society  was  formed  in  1902,  to  meet  the  general 
demand  for  larger  and  more  important  works.  It  had  given 
St.  Paul,  and  intended  to  give  Elijah.  The  membership  fee  was 
a  dollar  yearly.  (200.  1902-03:52.) 

A  "band  master"  appeared  on  the  faculty  in  1903.  Private 
teachers  available  in  the  city  for  vocal  or  instrumental  lessons, 
were  spoken  of  again  in  the  catalog.  (290.  1903-04:26,53.) 

This  notice  appeared  in  1905 :  "  The  university  has  no  depart- 
ment of  music,  but  both  vocal  and  instrumental  music  are 
encouraged  and  enjoyed  by  volunteer  organizations  among 
students  and  faculty  members."  A  band,  orchestra,  two  men's 
glee  clubs,  women's  glee  club,  mandolin  club,  string  quartet, 
vocal  quartet,  class  and  departmental  organizations  all  existed 
during  this  period.  (290.  1904-05:58.) 

In  1906,  a  university  school  of  music  was  organized  and 
affiliated  with  the  university.  Student  volunteer  musical  organ- 
izations were  given  training  by  the  faculty  of  the  conservatory. 
Four  teachers  offered  work  in  piano,  voice,  organ,  orchestral  and 
band  instruments,  history  and  theory  of  music,  the  latter  in- 
cluding harmony,  counterpoint,  canon  and  fugue,  musical  form, 
musical  analysis,  and  free  composition.  (290.  1906-07:67.) 

In  1908,  the  musical  organizations  were  incorporated  under 
one  head  as  the  University  Music  Association. 

Regular  university  credit  was  allowed  in  history  and  theory 
of  music.  Public  school  music  was  introduced  in  the  school  of 
education.  (290.  1908-09 :278,509.) 

By  1909,  the  courses  were  outlined  with  respect  to  certificates 
and  diplomas.  The  studies  leading  to  a  degree  were  along  lines 
such  as  would  develop  mastery  over  composition.  History  and 
theory  of  music  were  allowed  a  maximum  credit  of  twelve  sem- 
estral  hours,  in  the  college  of  liberal  arts. 

For  graduation,  all  theory  and  history  courses  were  required, 
including  as  much  as  the  second  year  of  degree  course.  A  cer- 
tificate exacted  the  first  year  of  degree  requirements. 

The  bachelor  of  music  degree  required  the  following  studies: 
1st  year  2d  year  3d  year 

Elementary  Harmony  Counterpoint 

harmony  Counterpoint  Canon  and  fugue 

Theory  Evolution  of  the  art  Instrumentation 

History  of  music  Short  musical  composition 

and  analysis        Acoustics  Musical  essay  of  two  thousand 

words 


168 

The  fourth  year  required  a  composition  in  five  part  harmony, 
with  original  counterpoint  and  fugues  at  least  twenty  minutes 
long  in  the  following  form:  (a)  a  choral  work  of  three  move- 
ments, one  being  for  accompanied  solo  voice  with  'the  accom- 
paniment for  strings,  piano  or  organ,  (6)  a  sonata  for  piano  or 
organ,  (c)  a  quintet  for  strings. 

An  essay  was  required,  intended  to  show  points  of  similarity 
and  of  divergence  in  two  standard  works  of  harmony.  A  further 
requirement  was  study  in  four  and  five  part  harmony,  counter- 
point and  double  counterpoint  in  8ths,  10th,  12th,  and  15th,  and 
canon  and  fugue  in  three  and  four  parts.  Instrumentation 
included  a  critical  knowledge  of  Elijah. 

Alternative  studies  were  applied  branches,  or  a  course  in 
French  or  German. 

A  teachers'  diploma  required  any  of  the  applied  courses,  and 
an  oral  examination  upon  the  subjects  which  a  teacher  should 
be  prepared  to  explain.  (290.  1909-10:363.) 

Piano,  voice  and  harmony  were  offered  during  the  summer 
session  of  1912,  with  special  attention  to  the  needs  of  the  teacher. 
(290.  1911-12:243.) 

The  bachelor  of  music  degree  has  much  the  same  course  at 
present  as  the  one  just  outlined.  The  public  school  music  course 
is  two  years  in  length  and  includes  the  following  studies: 

1st  year  2d  year  Special  requirements 

Voice  Voice  Freshman  piano 

Solfeggio  Solfeggio  Elementary  psychology 

Sight  reading  Sight  reading  Principles  of  education 

Harmony  Harmony 

History  of  music  History  of  music 

Form  and  analysis  Form  and  analysis 
Public  school  methods         High  school  methods 

Choral  society  Choral  society 

The  fees  in  piano  a  semester  are  $26  to  $90,  voice  $50,  violin 
$30  to  $50,  theory  $10  to  $15.  (290.  1912-13:165.) 

Enrollment  since  the  founding  of  a  school  of  music  was  as 
follows : 

Music  Music 

department  College  total  department  College  total 

1906-07. .  73  2,072  1909-10 60  2,352 

1907-08.  .    .  97  2,315  1910-11 82  2,090 

1908-09 1911-12 104  2,090 

Penn  College  has  a  department  of  music  offering  piano,  voice,  violin, 
'cello,  banjo,  mandolin,  guitar,  cornet,  band  and  orchestral 
PENN  COLLEGE    instruments,  harmony,  theory,  history  of  music  and  inter- 
pretation. 

Two  college  credits  are  given  for  history  of  music.  Theory,  notation  and 
sight  reading  are  listed  in  the  college  course  also.  The  school  maintains  a 
chorus,  glee  club  and  a  band. 

The  music  enrollment  was  one  hundred  forty-eight,  college  total  four 
hundred  six  in  1910.  (291.) 


169 

Iowa  State  College  of  Agriculture  and  Mechanical  Arts  has  an  affiliated 
school  of  music  with  five  instructors,  and  offering  all 

IOWA  STATE  COLLEGE  grades  of  instruction  in  applied  courses  and  theoretical 
branches. 

A  four  year  musical  course  with  sight  reading,  four  years  of  theoretical 
work,  and  forty-eight  hours  college  study  will  qualify  for  an  artists'  diploma 
in  music.  A  one  year  supervisors'  course  prescribes  methods,  child  voice, 
musical  history,  harmony  and  two  courses  in  psychology.  Theoretical  courses 
include  harmony,  composition,  history  of  music,  single  counterpoint,  canon 
and  fugue,  analytical  harmony,  interpretation  and  form  and  instrumentation. 
A  physics  course,  dealing  with  sound,  is  also  required. 

The  enrollment  in  the  music  department  is  one  hundred  eighty-five,  total 
college  attendance  two  thousand  eighty-two. 

The  tuition  a  semester  for  applied  study  is  $32  to  $35,  theoretical  studies 
$6  to  $10.  (292.) 

Central  University  of  Iowa  has  a  conservatory  offering  courses  in  piano, 

voice,  organ,  harmony,  ear  training,  and 

CENTRAL  UNIVERSITY  OF  IOWA  history  of  music.  Three  studies  are  required 

for  the  bachelor  of  music  degree,  two  of 

which  must  be  piano,  theory  and  history  of  music,  the  third  may  be  elective. 
A  public  program  is  necessary.  College  entrance  requirements  must  be  met. 

A  teachers'  certificate  is  offered  for  six  terms  of  theory  and  piano,  or  voice 
and  two  years  of  high  school  work. 

In  1909,  the  music  department  had  only  ten  students,  college  enrollment 
being  two  hundred  thirty-eight.  (293.) 

Upper  Iowa  University  maintains  a  school  of  music.  Graduation  requires 
three  semesters  of  a  year  of  music  students'  club 

UPPER  IOWA  UNIVERSITY  extension  work,  embracing  history,  study  and  per- 
formance of  works  of  standard  composers,  and  one 

and  one-half  semesters  of  theory,  and  French  and  German  study  advised. 
The  course  requires  four  years.  A  two  year  post-graduate  course  is  given  in 
addition.  The  faculty  have  under  advisement,  tentative  plans  toward  the 
bachelor  of  music  degree. 

In  general,  the  college  does  not  consider  a  student  ready  for  this  degree 
until  he  has  completed  the  four  year  college  course,  and  two  years  of  post- 
graduate study. 

Besides  outlined  courses  in  piano,  voice,  organ  and  violin,  mandolin  and 
guitar  are  taught.  A  course  in  public  school  music  includes  one  year  each  of 
normal  music,  piano  and  voice,  and  half  year  of  ear  training.  The  course 
was  put  in,  in  response  to  a  "heavy  demand  throughout  the  country." 

The  present  music  school  numbers  eighty,  the  entire  college  three  hun- 
dred ten. 

Tuition  in  applied  branches  a  year  is  $14  to  $27,  theory  in  class  $8. 

Music  receives  eight  semestral  hours  of  credit  in  the  college  of  liberal  arts, 
when  taken  in  harmony,  theory  and  history  of  music.  (294.) 

Parson's  College  School  of  Music  aims  to  insure  a  thorough  equipment. 
A  bachelor  of  music  degree,  soloists'  diploma  and  teachers' 
PARSON'S  COLLEGE  certificate  are  all  offered,  and  each  requires  college  en- 
trance credits. 

The  musical  degree  requires  the  following  course: 

1st  year  2d  year 

Mathematics 8  hours      Language 8  or  6  hours 

English  language 6  Physics 8 

Bible 2  Bible 2 

Harmony 4  Theory  and  orchestration ....  4 

Applied  major 6  History  of  music 4 

Applied  major 6 


170 

3d  year  4th  year 

Psychology 8  or  6  hours      Elective 8  or  6  hours 

Bible 2  Bible 2 

Instrumentation  and  simple  Canon  and  fugue 4 

counterpoint 4  Applied  major 9 

Applied  major 9  Applied  minor 3 

Applied  minor 3  Recital  and  thesis 4 

The  soloists'  diploma  requires  six  graces  in  an  applied  study,  with  the 
theory  work  of  the  first  two  years  of  the  cegree  course  just  outlined.  Teachers' 
certificate  requires  four  grac  es  of  applied  stu.-y,  through  theory  courses  of  the 
sophomore  year  in  the  c  egree  course,  and  several  appearances  in  recital. 

A  cantic  ate  for  A.  B.,  B.  S.  or  Ph.  D.  cegree,  as  well  as  for  the  soloists' 
or  teachers'  ciploma,  is  allowed  twelve  college  credits  for  stu_y  in  harmony, 
history  of  music,  and  theory  or  orchestration. 

Tuition  in  organ  or  piano  for  twelve  weeks  is  $18  to  $21,  voice  or  violin 
$18,  class  work  in  theoretical  stuc  y  $12. 

The  music  enrollment  numbers  one  hundred  forty-eight,  college  total  two 
hundred  sixty-seven.  (295.) 

Graceland  College  has  a  school  of  music  in  close  affiliation.  A  preparatory, 
teachers'  certificate,  and  a  graduating  course  are 

GRACELAND  COLLEGE  offered.  The  certificate  requires  harmony,  history  of 
music,  science  of  music,  psychology,  peuagogy  and 

English.  Graduation  adds  to  this  composition,  counterpoint,  musical  form 
and  science  of  music,  and  a  year  of  German.  A  public  program  is  required 
of  a  candidate  for  graduation. 

Applied  branches  are  limited  to  piano  and  voice,  with  the  theory  courses 
already  mentioned.  (296.) 

Coe  College  has  courses  in  music  with  a  faculty  of  five.    The  department 

offers  harmony,  history  of  music,  form  and  analysis,  methods, 

COE  COLLEGE     (lectures  and  research  work  designed  to  give  a  survey  of 

material  used  in  teaching  music),  and  all  applied  branches. 

The  bachelor  of  music  degree  has  the  following  studies: 

Physical  training.  .  .   4  credits  Applied  major 32  houra 

English 10  Counterpoint 4 

Psychology 6  Harmony 12 

German 10  History  of  music 4 

French 10  Methods 5 

Electives 27  Applied  minor 8 

Thesis  or  elective ....  2 

One  unit  proficiency  in  music  is  required  for  admission  to  the  department. 
The  music  summary  for  1910  was  seventy-six,  college  total  four  hundred 
ten.     (297.) 

The  conservatory  of  Amity  College  offers  piano,  voice,  violin,  stringed 

instruments,    harmony,    counterpoint,    analysis    of    music, 

AMITY  COLLEGE    history,  normal  music,  sight  reacing  and  chorus.    Four  to 

six  years  are  required  to  complete  the  course.    A  normal 

vocal  department  is  maintained  for  school  teachers  and  public  school  music 

teachers. 

The  music  summary  for  1909  was  forty-six,  college  total  one  hundred 
ninety-nine. 

Tuition  for  applied  branches  (twelve  weeks)  is  $14,  theory  in  class  $5  to 
$6.  (298.) 

Des  Moines  College  has  a  conservatory  which  has  developed  with  the 
school,  and  aims  to  produce  musicians  of  "  culture  and 

DBS  MOINES  COLLEGE    capability."     The  bachelor  of  music  degree  requires 

four  years  of  piano,  voice,  violin  or  organ,  a  year  of 

history  and  criticism  of  music,  three  of  theory,  college  studies  to  the  amount 


171 

of  five  hours  a  week  for  four  years,  a  recital  and  full  high  school  credits.  Six 
years  will  give  the  A.  B.  and  Mus.  B.  degree  together. 

A  teachers'  diploma  is  given  for  theory  and  history  of  music  completed, 
and  a  reasonable  amount  of  proficiency  in  an  applied  subject.  Voice  students 
must  take  two  years  of  piano. 

Tuition  for  twelve  weeks  in  piano  is  $12  to  $36,  organ  or  voice  $36,  violin 
$20  to  $24,  theory  in  class  $6  to  $12. 

The  music  summary  is  ninety,  college  total  five  hundred  sixty-eight.   (299.) 

Buena  Vista  College  offers  musical  work  since  "music  is  essential  to  a 
complete  education."  The  course  requires  three 

BUENA  VISTA  COLLEGE  years,  with  some  musical  knowledge  before  entering. 
Applied  branches  include  piano  and  violin.  Gradua- 
tion requires  harmony,  counterpoint,  musical  form  and  history  of  music; 
in  college,  French,  German  or  Latin  two  years,  history  one  year,  and  English 
two  years.  A  public  school  music  course  is  given.  (300.) 

Tabor  College  has  a  conservatory  with  five  teachers.  A  diploma  requires 
a  major  in  piano,  voice,  violin  or  organ,  all  the  theory  given 
TABOR  CQLLEGE  and  literary  studies  equivalent  to  college  entrance.  Theoret- 
ical courses  include  harmony  two  years,  counterpoint  one 
semester,  canon  and  fugue  one  year,  ear  training  one  year,  analytical  harmony 
one  year,  free  composition  three  semesters,  history  of  music  one  year.  Applied 
branches  are  divided  into  preparatory,  intermediate  and  advanced  courses. 

Fees  in  applied  studies  a  semester  are  $36,  and  in  theory  classes  $10. 

Credit  in  music  counts  toward  the  A.  B.  degree.     (301.) 

Ellsworth  College  has  a  conservatory  which  gives  three  courses  leading 
to  a  musical  diploma.  Piano,  voice  and  harmony  are 
ELLSWORTH  COLLEGE  offered.  (302.) 

MISSOURI. 

The  first  mention  of  music  in  the  University  of  Missouri 

catalog  in  is  1896,  when  glee,  mandolin, 

UNIVERSITY  OF  MISSOURI  guitar  and  banjo  clubs  were  spoken  of. 

These  were  more  as  student  organ- 
izations, and  without  serious  intent  for  study.  (303.  1896-97:30.) 

A  university  choral  union  was  formed  in  1898,  which  gave  a 
May  festival  of  two  performances.  Dues  were  twenty-five  cents. 
(303.  1898-99:56.) 

A  band  and  string  band  were  in  evidence  the  following  year. 
(303.  1899-00:56.) 

A  public  school  music  course  was  put  in  the  Teachers'  College 
in  1903,  to  give  the  necessary  training  for  regular  instruction  in 
the  grades,  but  with  no  pretense  of  being  sufficient  to  train 
specialists.  (303.  1903-04:138.) 

The  same  course  was  further  differentiated  the  next  year,  by 
substituting  an  elementary  course  of  three  hours,  and  an  ad- 
vanced of  four  hours.  (303.  1904-05:155.) 

In  1905,  Teachers'  College  offered  a  course  in  general  culture 
with  one  hour  credit,  elementary  public  school  music  with  three 
hours'  credit,  and  an  advanced  course  fitting  supervisors  of  music, 
with  four  hours'  credit. 

Applied  music  was  not  a  part  of  the  course,  but  mention  was 
made  that  teachers  could  be  recommended.  (303.  1905-06:180.) 


172 

In  1907,  a  "professor  of  music"  appeared  on  the  faculty. 
The  courses  then  included  the  elementary  and  advanced  courses 
in  public  school  music,  harmony,  counterpoint  and  chorus. 
(303.  1907-08:32,210.) 

In  1911,  the  courses  in  the  college  of  arts  and  sciences  in- 
cluded harmony,  counterpoint,  canon  and  fugue,  appreciation  of 
music,  chorus  and  orchestra.  The  school  of  education  offered 
harmony,  counterpoint,  canon  and  fugue,  form,  free  composition, 
appreciation,  chorus  and  the  same  courses  of  public  school  music. 
Chorus  and  orchestra  together  were  allowed  one  credit  a  semester, 
the  total  not  to  exceed  four  hours.  (303.  1911-12:176.) 

The  last  catalog,  1913-14,  offers  the  same  courses,  giving 
equivalent  credits  for  work  done,  equal  to  that  of  other  depart- 
ments. One  unit  may  be  offered  for  entrance  credit,  and  consists 
of  a  combination  of  ear  training,  sight  reading  and  harmony. 
The  unit  must  be  the  equivalent  of  five  hours  a  week  of  class 
work  for  two  years.  (303.  1913-14:50,165,239.) 

From  correspondence,  it  was  learned  that  music  credit 
counts  toward  a  degree.  There  is  no  extra  tuition.  At  present, 
a  student  can  get  twenty-four  hours'  credit  in  music  toward  the 
A.  B.  degree  in  arts  and  science. 

One  hundred  eighty  students  are  enrolled  in  the  different 
courses,  including  names  which  may  be  duplicated. 

Mr.  Pommer,  the  instructor,  feels  that  music  does  not  yet 
rank  as  it  should  in  the  Missouri  University.  (445.) 

Hardin  College  has  a  conservatory  with  seven  teachers.    The  courses  are 

piano,   voice,   violin,   organ,   sight   singing,   ear  training, 

HARDIN  COLLEGE    public  school  music,  harmony  and  musical  history.     A 

piano  diploma  with  bachelor  of  music  degree  requires  a 

high  school  education,  harmony,  history  of  music  and  a  recital.    It  is  a  four 

year  course.     One  year  post-graduate  study  is  added  which  leads  to  master 

of  music.     Voice  graduation  and  the  musical  degree  require  three  years, 

including  a  high  school  course,  sight  singing,  ear  training,  two  years  of  piano 

and  a  year  of  French  or  German. 

The  violin  course  embraces  five  grades,  and  offers  both  a  graduate  and  a 
post-graduate  diploma. 

Increased  demand  has  led  to  a  public  school  music  course  which  gives  a 
certificate  of  proficiency.  A  high  school  education,  harmony  and  ear  training 
are  required. 

Post  graduate  work  in  theory  consists  of  counterpoint,  canon  and  fugue. 
(304.) 

Tarkio  College  maintains  a  conservatory  with  five  teachers.    Besides  the 

four  usual  applied  studies,  harmony,   counterpoint,   har- 

TARKIO  COLLEGE    monic  analysis,  analysis  of  form,  strict  counterpoint,  free 

counterpoint,  instrumentation,  ear  training,  appreciation 

of  music,  normal  teaching,  sight  singing  and  musical  kindergarten  are  offered. 

The  general  course  for  graduation  is  as  follows: 

1st  year  2d  year 

Applied  major  Applied  major 

Applied  minor  Applied  minor 

Harmony  f  Advanced  harmony,  1st  semester 

Sight  singing  \  Counterpoint,  2d  semester 

Ear  training  Sight  singing 


173 


Select 
two 


Free  composition 
Strict  composition 
College  history 

Harmonic  analysis  and  analysis  of 
form 

3d  year  4th  year 

Applied  major  Applied  major 

Applied  minor  Recital  in  major 

f  Free  composition  f  Free  composition 

Select  I  Strict  composition  Select  I  Strict  composition 

two   1  Harmonic  analysis  one    |  Applied  minor 

[  Analysis  of  form  (  Instrumentation 

The  music  enrollment  is  one  hundred  twenty-nine,  total  attendance  two 
hundred  forty-five.  (305.) 

Park  College  has  a  department  of  music  offering  piano,  voice  and  harmony. 

Twelve  practice  pianos  are  in  use.    Organizations  consist  of 

PARK  COLLEGE    a  choir,  band,  orchestra  and  a  men's  glee  club.    Tuition  in 

piano  or  voice  is  $8  for  twelve  lessons.     Harmony  in  class 

is  $4.      There  are  fifty-seven  music  students,  the  entire  school  enrollment 

being  four  hundred  eighty-two.     (312.) 

Christian  Brothers  College  has  a  department  of  music  offering  piano  and 

violin.     The  courses  are  not  outlined,  as  a 

CHRISTIAN  BROTHERS  COLLEGE    separate  bulletin  is  sent  out  on  request.    The 

catalog   announcement   gives  the  idea  that 

college  study  and  music  are  combined  in  such  a  way  as  to  be  beneficial  to 
both  departments.     (306.) 

The  Missouri  Valley  College  has  had  courses  in  music  since  its  founding 
in   1889.     They  are  intended   (1)   for  teachers 

MISSOURI  VALLEY  COLLEGE    or  performers,  (2)  as  part  time  or  general  sub- 
jects. 

The  courses  include  piano,  voice,  violin,  organ,  harmony,  counterpoint, 
canon,  fugue,  instrumentation  and  history  of  music,  leading  to  bachelor  of 
music. 

Requirements  for  the  degree  are  (1)  four  years'  work  in  the  major  subjects, 
(2)  harmony,  composition  and  history  of  music,  (3)  graduation  from  the 
academy  of  Missouri  Valley  College,  or  equivalent  (4)  successful  performance 
in  a  public  recital. 

There  is  a  post-graduate  piano  course  of  two  years,  as  well  as  courses  for 
church  music  and  oratorio. 

The  present  music  enrollment  is  one  hundred  eighty,  total  attendance 
two  hundred  nine. 

Since  1906,  the  college  has  maintained  a  well  equipped  conservatory  of 
music.  (307.) 

Missouri  Wesleyan  College  has  a  well  established  conservatory  offering 
courses    in    piano,    voice,    violin,    harmony, 

MISSOURI  WESLEYAN  COLLEGE    organ,    orchestral    instruments,    theory    and 

history. 

The  course  of  study  for  graduation  requires  an  applied  major  and  English 
in  the  first  year,  the  major  continued  and  rhetoric  the  second  year,  the  major 
study,  elementary  harmony,  analysis  and  English  the  third  year,  the  major, 
harmony,  theory,  German,  analysis  and  history  of  music  fourth  year,  while  a 
.fifth  includes  the  major,  harmony  and  counterpoint.  Voice  has  the  same 
course,  with  two  years  of  piano  and  two  years'  choral  practice  added.  A 
graduate  is  required  to  give  a  public  recital.  The  end  of  the  fourth  year 
gives  a  teachers'  certificate. 

Music  attendance  is  one  hundred  thirty-three,  college  total  two  hundred 
ninety.  (308.) 


174 

Walther  College,  by  a  special  arrangement  with  the  Missouri  Conservatory 

of  Music,  has  a  complete  course  of  music.     The  three 

WALTHER  COLLEGE    recognized  grades  in  piano,  violin,  and  a  four  year  course 

of  voice  are  given,  as  well  as  lessons  on  other  instruments. 

The  music  course  may  be  taken  separately  or  combined  with  other  studies. 

Three  years  of  study  give  a  teachers'  certificate,  four  years  entitle  the 

candidate  to  an  artists'  diploma.     A  year  of  harmony  is  required.     (309.) 

William  Jewell  College  offers  courses  in  sight  reading,  part  singing  in  the 

three  different  grades  and  band  training.    Music 

WILLIAM  JEWELL  COLLEGE    is  not  yet  a  formal  college  department.    A  glee 

club    has   just   been    organized    and    a   teacher 
provided.     (310.) 

St.  Louis  University  has  a  glee  club  and  an  orchestra  open  to  those  who 
CT  mm*  TTNTTVP^TTV  have  the  necessary  ability,  otherwise  there  is  no 

ST.  LOUIS  UNIVERSITY     recognition  of  the  study.      (31L) 

noxTTUAT  r-mrvr-i?     Central  College  has  two  teachers  who  instruct  in  vocal 

CENTRAL  COLLEGE      and  instrumental  music.      (313.) 

Westminster  College  does  not  have  a  music  department,  but  permits 
arrangements  with  music  teachers  of  the  city,  and 

WESTMINSTER  COLLEGE    of  other  colleges  located  at  Fulton,  for  the  study  of 
music.    There  are  opportunities  for  practice  in  the 
band,  orchestra,  gjee  and  mandolin  clubs.     (314.) 

Drury  College  has  a  conservatory  offering  courses  in  piano,  voice,  organ, 

violin,  harmony,  simple  and  double  counterpoint,  theory 

DRURY  COLLEGE     and  history  of  music.     Music  is  elective  in  the  junior  and 

senior  years,  to  the  extent  of  nine  hours.    Admission  to  the 

music  course  requires  fourth  grade  piano,  or  six  months  of  organ,  one  unit 

each>  simple  harmony  a  half  unit,  and  history  of  music  a  half  unit. 

The  general  subjects  in  Drury  College  music  course  are  archaeology, 
Biblical  literature,  economics,  fine  arts,  music,  history,  military  science, 
philosophy,  political  science,  pedagogy  and  sociology. 

The  elective  courses  in  music  should  not  be  over  eighteen  semestral 
hours.  (315.) 

NORTH  DAKOTA. 

The  first  mention  of  music  in  the  catalog  of  North  Dakota 

University  is  in  1898,  as  follows: 

UNIVERSITY  OF  NORTH  DAKOTA  "Regular  instruction  in  vocal 

music  will  be  given  the  ensuing 

year.  This  will  be  required  of  all  normal  students  unless  they 
are  especially  excused,  and  will  be  elective  for  all  others."  (316. 
1898-99:68.) 

The  following  year,  music  was  required  of  all  normal  and 
preparatory  students  unless  excused.  The  study  consisted  of 
tone,  major,  minor  and  chromatic  scales  with  intervals,  time  of 
all  varieties,  and  tone  color,  as  modulation,  mode,  concords,  dis- 
cords and  part  singing.  (316.  1899-00:68.) 

By  1905,  a  teacher  had  appeared  on  the  faculty  list.  An 
elementary  course  of  vocal  music,  required  of  all  preparatory 
students,  aimed  to  develop  absolute  pitch,  sense  and  rhythm  and 
an  appreciation  of  better  music.  A  glee  club,  band  and  an 
orchestra  had  been  formed.  (316.  1905-06:87.) 

In  1907,  the  music  course  counted  as  one-fourth  credit.  A 
second  course  consisted  of  harmony.  (316.  1907-08:196.) 


175 

* 

The  next  year,  harmony  1  and  2  gave  four  hours'  credit,  3 
and  4  was  a  teachers'  course,  also  four  hours'  credit,  and 
included  ear  training,  sight  singing,  harmony,  history  of  music 
and  public  school  music.  (316.  1908-09:85.) 

In  1900,  teachers'  college  offered  a  course  in  elementary 
school  music,  and  one  in  simple  harmony.  (316.  1909-10:212.) 

In  the  fall  of  1910,  the  musical  interests  of  North  Dakota 
University  were  reorganized.  The  courses  offered  were  harmony, 
history  of  music,  methods  in  teaching  public  school  music,  and  a 
course  in  high  school  music  offered  in  connection  with  the  model 
high  school. 

The  Carney  song  contest  between  classes  was  introduced,  the 
prize  being  $50. 

No  private  instruction  was  included,  such  lessons  being  pro- 
curable in  a  local  conservatory,  or  under  private  teachers. 

Organizations  consisted  of  a  male  quartet  organized  in  1906, 
a  band  organized  1904,  girls'  glee  club  1909,  a  university  mandolin 
and  banjo  club  organized  in  1902,  and  an  orchestra  organized  in 
1906,  which  developed  into  the  Grand  Forks  symphony  orchestra 
in  1910.  (317.) 

Correspondence  shows  that  the  university  gives  both  entrance 
credit,  and  credit  toward  a  degree.  The  present  courses  are 
harmony,  history  of  music,  methods,  principles,  appreciation  and 
sight  reading  each  semester.  Band,  orchestra  and  glee  clubs, 
for  two  hours  a  week  receive  a  half  credit  each  semester. 

Except  for  the  course  for  supervisors,  the  work  is  cultural. 
No  extra  fee  is  asked  for  class  work,  and  no  private  instruction 
exists.  Correlation  is  made  with  the  art  department,  and  the 
university  hopes  ultimately  to  establish  a  "school." 

From  an  enrollment  of  forty-one  in  1910,  the  department  has 
grown  to  one  hundred  sixty  this  year. 

Extension  work  exists  in  the  form  of  lecture  recitals,  male 
quartet,  mixed  quartet  and  orchestra,  the  purpose  being  educa- 
tional. More  elaborate  plans  are  anticipated  for  supplying 
directors  in  several  communities. 

North  Dakota  feels  that  the  greatest  need  is  thoroughly 
prepared  teachers  or  leaders,  and  that  county  and  state  com- 
petitive festivals  would  improve  the  present  system.  (446.) 

SOUTH  DAKOTA. 

The  earliest  library  catalog  of  South  Dakota  University  shows 

a   music   department   in   1890. 

UNIVERSITY  OF  SOUTH  DAKOTA    Since  correspondence  shows  the 

present  department  to  be 

twenty-five  to  thirty  years  old,  1890  is  approximately  its  be- 
ginning. "Symmetrical  and  thorough  education"  was  offered  in 
piano,  organ,  voice,  theory  and  history  of  music.  Piano  study 


176 

was  divided  into  preparatory,  collegiate  and  advanced  courses, 
with  class  instruction  in  the  earlier  stages,  verging  to  private 
lessons  in  the  advanced  work.  Theory  and  history  of  music  were 
required  of  all  who  took  a  diploma.  Piano  and  organ  candidates 
for  diploma  devoted  at  least  two  years  to  harmony  and  com- 
position. Fees  for  vocal  study  were  $35  yearly,  for  organ  $60, 
piano  being  $25.  (319.  1890-91:50.) 

The  next  year,  the  music  department  became  the  South 
Dakota  College  of  Music.  A  post-graduate  course  in  piano  was 
put  in  for  the  development  of  methods  in  teaching.  Candidates 
were  required  to  give  lessons  in  the  preparatory  department. 
The  course  gave  a  teachers'  certificate.  (319.  1891-92:18,37.) 

Church  organ  playing  was  added  in  1892.  Music  was  further 
elective  in  junior  and  senior  years,  with  credit  toward  a  degree. 
Students  were  encouraged  to  take  college  work  with  music 
studies. 

Piano  graduation  required  six  grades  of  piano  study,  two 
years'  chorus,  two  years  of  harmony  and  musical  composition, 
two  terms  of  history  of  music,  and  a  knowledge  of  English, 
modern  language,  algebra,  a  year  of  ancient,  mediaeval  and 
modern  history,  and  a  course  in  acoustics.  Organ  graduation 
required  a  similar  course,  voice  course  being  four  years.  (319. 
1892-93:22.) 

In  1895,  the  department  opened  up  with  an  enrollment  of 
thirteen,  and  was  suspended  for  the  year.  (319.  1895-96:50.) 
This  was  during  the  financial  stringency  following  the  year  of 
1894,  when  drouth  caused  a  failure  of  crops. 

In  1897,  history  and  theory  could  count  for  credit  toward  a 
degree,  if  taken  by  one  not  ranking  below  a  sub-freshman. 
Public  recital  for  graduation  was  mentioned  as  customary  by 
this  time.  (319.  1897-98:21.) 

A  teachers'  certificate  required  five  grades  of  applied  study 
and  two  years  of  harmony,  musical  form,  history  of  music  and 
chorus. 

Ensemble  playing  was  added  in  1898  (319.  1898-99:33), 
cornet  study  the  following  year  (319.  1899-00:35),  developing 
into  a  brass  department  in  1900.  (319.  1900-01:46.) 

A  course  for  diploma  and  an  artists'  course  for  bachelor  of 
music  were  offered  in  1901.  The  first  required  through  com- 
position, about  two  years,  the  second  required  two  additional 
years. 

The  school  had  begun  to  increase  again  and  new  quarters 
were  sought.  (319.  1901-02:65.) 

For  1903,  post-graduate  courses  were  offered  in  any  branch. 
Both  voice  and  violin  led  to  a  diploma  and  bachelor  of  music 
degree.  Twenty-four  out  of  the  total  one  hundred  twenty-eight 
credits  were  allowed  for  courses  in  music.  From  chorus,  orchestra, 
instrumental  and  vocal  music,  two  credits  could  be  gained  each 


177 

year  with  a  maximum  of  eight  for  the  four  years,  when  taken 
from  a  combination  of  these  four  studies.  (319.  1903-04:72.) 

In  1908,  a  total  of  eight  hours'  credit  was  allowed  for  piano, 
violin  or  voice,  sixteen  hours  being  allowed  for  theory  and  history 
of  music.  Chorus,  band  or  orchestra  were  allowed  eight  hours. 
For  any  combination,  a  maximum  of  twenty-four  hours  was 
allowed.  (319.  1908-09:137.) 

A  public  school  music  course  was  added  in  1912,  including  a 
three  hour  course  of  study.  (319.  1912-13:190.) 

The  present  faculty  includes  seven  instructors  in  purely 
musical  subjects,  with  seven  more  listed  in  language  and  mathe- 
matics. Music  is  taught  as  part  of  a  complete  education,  and 
at  the  lowest  expense  possible.  The  courses  offered  are  musical 
theory  and  history,  pianoforte,  stringed  instruments,  voice, 
organ  and  wind  instruments. 

One  hour  credit  a  semester  with  a  total  of  eight,  are  allowed 
for  piano,  violin  or  voice,  a  total  of  sixteen  hours  being  the 
maximum  for  theory  and  history  of  music.  Eight  hours  are 
allowed  for  chorus,  band  or  orchestra.  Not  over  twenty-four 
hours'  credit  is  allowed  for  any  combination  of  music  studies. 
A  certain  amount  is  further  allowed  for  credit  gained  in  the 
college  of  music  by  high  school  students. 

Theory  includes  harmony,  harmonic  analysis,  music  form  and 
elementary  homophonic  composition,  advanced  harmony,  coun- 
terpoint, canon  and  fugue,  music  history  and  aesthetics. 

Work  completed  in  piano  to  the  end  of  the  sophomore  year 
gives  a  teachers'  diploma,  and  requires  a  recital.  The  bachelor 
of  music  degree  requires  two  more  years,  besides  three  years  of 
English,  algebra,  and  two  years  of  French,  German  or  Italian. 
Violin  and  voice  offer  the  same  diplomas  and  degrees  as  piano 
study.  Lessons  are  given  in  organ  and  wind  instruments,  and  a 
year  course  in  public  school  music. 

Tuition  for  a  semester  in  piano  is  $23  to  $32,  voice  $28, 
violin,  viola  or  'cello  $25,  and  theoretical  courses  $6.  (319. 
1913-14:174,266.) 

The  attendance  for  the  successive  years  was  as  follows: 

Music  College  total                               Music      College  total 

1890-91 69  371  1900-01 72  398 

1891-92 51  251  1901-02 61  404 

1892-93 50  281  1902-03 

1893-94 36  232  1903-04 69  382 

1894-95 34  291  1904-05 77  458 

1895-96 13  292  1905-06 85  381 

1897-98 61  410  1908-09 130  454 

1898-99 49  345  1909-10 115  445 

1899-00..                48  384  1912-13 91  424 

1913-14..          ..Ill  421 


178 

Dakota  Wesleyan  University  has  a  school  of  music  with  six  instructors. 

The  aim  is  to  educate  both  practically  and 

DAKOTA  WESLEYAN  UNIVERSITY  liberally.  Music  students  are  expected  to 

take  a  music  course  and  college  work  com- 
bined. 

Four  departments  exist,  the  preparatory,  normal  music  department 
giving  a  teachers'  certificate,  the  collegiate  offering  degree  of  music  graduate 
and  a  public  school  music  aepartment. 

Instruction  is  offered  in  all  applied  branches.  A  literary-musical  course 
has  been  organized.  The  normal  course  requires  three  years'  study,  the 
collegiate  being  four  years  in  length,  and  a  complete  training. 

Normal  training  and  college  combined  require  harmony,  ear  training, 
ensemble,  sight  singing,  applied  music,  musical  forms,  principles  of  inter- 
pretation, single  ana  double  counterpoint,  normal  piano  methods  and  psy- 
chology, with  college  work  each  year.  In  the  literary-musical  course,  music  is 
substituted  for  a  fourth  of  the  college  course. 

Tuition  a  semester  in  piano  is  $34  to  $45,  voice  $45,  violin  $34,  theoretical 
classes  $1.50  to  $12  a  semester. 

The  course  for  all  music  students  is  as  follows: 

1st  year  2d  year 

Elements  of  music  Harmony 

Sight  singing  History  of  music 

Ear  training  Musical  forms  and  principles  of 
Piano  classes  interpretation 

College  study  Ear  training 

Ensemble  (piano)  Ensemble  (piano  and  strings) 

Applied  music  Solo  piano  classes 

Harmony  College  study 

Applied  music 

3d  year  4th  year 

Counterpoint  (For  collegiate  stuaents  only) 

Musical  form  and  analysis  Canon  ana  fugue 

Advanced  history  of  music  Intrumental  and  vocal  composition 

Solo  piano  classes  Analysis  and  higher  musical  forms 

Ensemble  (string  and  Solo  piano  classes 

accompaniment)  College  study 

Normal  piano  methods  Psychology  and  its  relation  to  music 
Applied  music 

The  music  attendance  is  two  hundred  thirty,  total  college  enrollment  six 
hundred  fifty-five.  (320.) 

Huron  College  has  a  school  of  music  established  for  serious  study.  Eighteen 
rooms,  sixteen  pianos,  ten  being  bought  in  two  years,  form 
HURON  COLLEGE  the  necessary  equipment.  A  strong  feature  is  a  normal 
department  with  training  classes  for  children.  A  pre- 
paratory, intermediate,  graduate  and  normal  training  department  are  offered. 
The  graduate  course  requires  two  years,  and  includes  ear  training,  harmony 
and  musical  history  in  the  first  year;  ensemble,  harmony,  harmonic  analysis, 
and  form  analysis  in  the  second  year.  A  year  of  practice  teaching  is  required 
of  candidates  for  the  teachers'  certificate. 

Tuition  a  semester  in  voice  is  $18  to  $27,  violin  $27,  theoretical  subjects 
$15,  normal  department  $7. 

The  music  total  is  sixty-six,  entire  college  attendance  three  hundred 
ninety-eight.  (381.) 

Besides  the  State  University,  Dakota  Wesleyan  University  and  Huron 
College,  South  Dakota  has  the  following  colleges  which  maintain  music  depart- 
ments: Augustana  College,  Columbia  College,  Eureka  College,  Freeman 
College,  Lutheran  Normal,  Northern  Normal  and  Industrial  School,  Pres- 


179 

entation  Academy,  Redfield  College,  School  of  Mines,  Sioux  Falls  College, 
State  College  of  Agriculture  and  Mechanic  Arts,  State  Normals  at  Spearfish 
and  Springfield,  St.  Mary's  Academy,  Ward  Academy,  Wessington  Springs 
Academy  and  Yankton  College. 

The  total  music  registration  of  the  state  in  1912,  including  that  of  the 
first  three  institutions,  was  seven  hundred  ninety-seven,  five  not  reported, 
the  usual  attendance  being  about  seventy-five.  Total  student  registration  of 
the  same  colleges  was  four  thousand  one  hundred  seventy-two,  one  not  reported. 
Thus  19  plus  per  cent  take  musical  studies  in  college,  which  is  less  than,  is 
actually  true,  since  five  did  not  report  music  enrollment.  (60.  1912:90.) 

NEBRASKA. 

In  1877,  the  Nebraska  University  catalog  had  a  vocal  and 

instrumental  teacher  on  the  faculty, 

UNIVERSITY  OP  NEBRASKA  with  the  following  note  inserted: 

"Instruction  is  given  in  vocal  and 
intrumental  music— tuition  is  $30  a  year."  (322.  1877:8,48.) 

In  1880,  a  " director  of  the  musical  conservatory"  was  listed 
among  the  faculty  members.  The  school  was  "created  at  the 
last  meeting  of  the  board  of  regents."  Instruction  was  to  be 
given  in  classes  of  three  to  four,  or  privately.  Four  in  a  class, 
piano  tuition  was  $6,  for  private  lessons  $12.  Voice  tuition  was 
$7.50  in  a  class  of  four,  $15  for  private  study,  sight  singing  was 
$1.50.  A  vocal  class  in  the  elements  of  music  was  free  to  all. 
Band  training  was  introduced. 

The  conservatory  was  established  to  obtain  "a  superior  and 
economical  means  for  attaining  a  true  musical  education."  (322. 
1880:8,21,23.) 

The  following  year,  there  were  three  teachers.  Voice  was 
emphasized  as  of  great  value  to  health  and  muscular  develop- 
ment. Thorough  bass  and  harmony  were  introduced  in  class  at 
$7.50  to  $10  for  ten  weeks'  study.  There  were  also  classes  in 
musical  notation  and  chorus  at  $1.50  a  semester.  (322.  1881- 
82:38.) 

In  1883,  violin  was  added.     (322.    1883-84:22.) 

The  following  note  appeared  in  the  catalog  of  1884:  "This 
department  was  established  five  years  ago,  but  the  work  has  been 
suspended  for  some  time.  It  is  hoped  that  its  revival  under  the 
recently  appointed  instructors  will  be  appreciated  and  supported 
by  those  interested  in  this  important  branch  of  education.  In 
this  age  when  everyone  is,  or  pretends  to  be  musical,  it  is  well 
to  remember  that  music  is  not  a  mere  ornament,  and  that  a 
superficial  knowledge  is  worse  than  none  at  all.  Good  work 
cannot  stand  upon  a  poor  foundation." 

Instruction  was  offered  in  piano,  voice,  organ,  choral  singing, 
and  theory,  including  harmony,  counterpoint,  canon,  fugue, 
form,  composition  and  instrumentation  in  class  or  privately. 
(322.  1884-85:53.) 

In  1885  came  the  announcement  of  the  "school  of  art  and 


180 

music  in  which,  pending  the  opening  of  the  college  of  fine  arts," 
instruction  was  given  in  vocal  and  instrumental  music.  For  the 
first  time,  piano  had  a  four  year  course  outlined.  An  organ  and 
a  voice  teacher  was  provided,  as  well  as  one  for  the  violin,  if 
desired.  (322.  1885-86:27,74.) 

In  1887,  the  hope  of  a  college  of  fine  arts  was  mentioned  again, 
when  music  would  be  placed  upon  a  basis  with  other  studies. 
(322.^  1887-88:90.) 

Violin,  harmony  and  counterpoint  were  offered  in  1888. 
(322.  1888-89:8.) 

A  University  School  of  Music  was  opened  up  the  fall  of  1894, 
being  a  private  corporation,  with  a  university  affiliation.  Ele- 
mentary instruction  was  given  irr  harmony  and  theory  of  music, 
with  opportunity  for  lessons  on  the  piano,  violin  or  in  voice. 
(322.  1893-94:40.) 

In  1895,  appeared  the  following  notice:  "There  is  affiliated 
with  the  university,  a  school  of  music,  where,  pending  the  opening 
of  the  college  of  fine  arts,  instruction  is  given  in  every  grade  of 
vocal  and  instrumental  music/'  (322.  1895-96:26.) 

This  statement  appeared  in  1896:  "It  is  not  yet  possible  to 
open  the  college  of  fine  arts,  but  the  university  has  provided 
means  for  the  necessary  encouragement  in  music."  (322.  1896- 
97:235.) 

In  1897,  three-fifths  credit  was  allowed  for  two  years  in 
chorus  training,  while  applied  music  could  be  carried  as  an 
elective  after  three  years'  university  work.  (322.  1897-98:152.) 

The  following  year,  besides  chorus  credit,  one  year  of  band 
training  gave  one-fifth  credit,  the  applied  branches  and  theoret- 
ical study  of  the  conservatory  being  on  a  credit  basis  as  before. 
(322.  1898-99:226.) 

In  1900,  only  one  conservatory  course  was  allowed  in  any 
given  semester.  (322.  1900-01:195.)  In  1901,  an  hour  credit 
was  given  for  each  year  of  chorus.  (322.  1901-02:203.)  An 
hour  credit  was  given  for  third  and  fourth  year  band  training  in 
1902.  (322.  1902-03:216.) 

The  conservatory  courses  were  removed  from  the  university 
schedule  in  1904  (322.  1904-05:279),  leaving  only  chorus  training, 
but  were  reinstated  in  1905.  (322.  1905-06:263.)  All  connec- 
tion was  severed  with  the  school  of  music  in  1910,  the  credit  for 
chorus  and  band  remaining  the  same,  since  both  were  an  integral 
part  of  the  university.  (322.  1910-11:159.) 

Owing  to  the  fact  that  Lincoln  has  superior  conservatory 
advantages,  there  being  six  in  the  city  including  the  suburbs, 
the  university  has  not  built  up  its  own  chair  of  music. 

A  strong  attempt  is  being  made  to  organize  such  a  depart- 
ment. 

Six  piano  and  violin  teachers  have  accredited  pupils,  four 
credits  being  allowed  of  one  hour  each.  Twelve  students  receive 


181 

credit  in  this  way,  the  teachers  in  no  way  connected  with  the 
institution.  The  aim  is  cultural. 

Chorus  and  glee  club  are  allowed  a  maximum  of  four  hours' 
credit  each.  Credit  is  given  both  toward  a  degree  and  for  en- 
trance, and  the  subject  ranks  with  other  studies.  This  year,  a 
minor  in  music  from  another  institution  will  be  accepted  on  the 
graduate  teachers'  diploma.  Chorus  training  gives  one  credit 
each  semester,  while  a  band  is  maintained  as  part  of  the  battalion. 
The  male  glee  club  offers  no  credit.  (448.  322.  1913-14:50,518.) 

Nebraska  Wesleyan  University  has  a  conservatory  employing  ten  teachers. 

The  subjects  offered  are  piano,  voice, 

NEBRASKA  WESLEYAN  UNIVERSITY  violin,  organ,  theory,  history  of  music, 

ear  training,  normal  training  for  music 

teachers,  chorus  and  glee  club  training,  band  and  orchestra  practice,  acoustics 
and  public  school  music. 

An  undergraduate  diploma  may  be  won  by  completing  grade  five  in  piano, 
grade  two  in  harmony,  and  grade  one  in  history  of  music,  with  a  small  public 
recital.  The  graduate  diploma  requires  grade  six  in  piano,  grade  three  in 
harmony,  and  history  of  music  in  full.  Post-graduation  and  bachelor  of  music 
degree  require  grade  seven  in  piano,  harmony  and  simple  counterpoint  in  full, 
with  a  public  recital  of  difficult  compositions. 

Violin  offers  the  same  three  diplomas,  with  the  necessary  substitution  of 
violin  instead  of  piano.  Proficiency  in  piano  must  be  shown,  however. 

Voice  requires  only  through  grade  two  in  harmony  for  the  post-graduate 
course,  and  history  of  music  in  full,  with  a  public  program.  Some  skill  in 
piano  is  required. 

Organ  diplomas  make  practically  the  same  requirements  as  piano. 

A  theoretical  course  is  given  consisting  of  harmony,  simple,  double  and 
quadruple  counterpoint,  canon  and  fugue,  form  and  instrumentation.  Courses 
in  musical  pedagogy  for  teachers  are  offered  in  all  the  applied  branches.  A 
music  teachers'  certificate  is  given  in  place  of  a  diploma  of  graduation,  to 
those  who  fail  to  give  a  recital.  A  certificate  of  proficiency  is  given  for  com- 
pletion of  grade  three  in  harmony,  history  of  music  in  full,  and  no  recital. 

The  tuition  a  semester  in  piano  is  $40  to  $72,  voice  $44  to  $54,  violin  $54, 
organ  $60,  band  and  orchestral  instruments  $20,  theory  $12  to  $18. 

The  music  enrollment  in  1912  was  two  hundred  ninety-one.     (326.) 

Union  College  has  a  conservatory  of  music  offering  the  following  courses: 
Artists'  piano  course,  organ,  voice,  violin,  normal  music 
UNION  COLLEGE  course.  In  order  to  graduate,  a  student  must  finish  one 
year  of  German,  a  full  course  in  the  science  of  music  (in- 
cluding two  years  of  harmony,  two  years  of  musical  history  and  theory,  and 
one  year  each  of  counterpoint  and  composition),  solfeggio,  choral  practice 
and  applied  music.  A  minor  must  be  studied  also,  and  a  public  recital  given. 
A  certificate  is  granted  for  the  completion  of  the  sacred  organ  course. 

The  outline  for  the  piano  course  includes  piano,  an  applied  elective, 
course  in  science  of  music,  solfeggio  and  choral  practice,  forty-five  units  in 
all.  The  course  for  voice,  violin,  organ  and  normal  course  are  practically 
the  same.  The  artists'  course  is  a  post-graduate  department.  Instruction  is 
offered  on  the  viola,  'cello,  cornet,  guitar,  and  mandolin. 

Tuition  is  $9  to  $18  a  term  in  applied  branches,  $2  for  classes  in  theory. 
(323.) 

Cotner  University  has  a  school  of  music  with  four  teachers  on  the  faculty, 
A  graduate  of  Cotner  conservatory  may  receive  fourteen 

COTNER  UNIVERSITY  hours'  credit  toward  the  A.  B.  degree,  but  no  additional 
credit  can  be  given  in  the  junior  and  senior  years. 

The  courses  include  piano,  voice,  organ,  violin,  musical  history,  harmony 
and  public  school  music.  Only  one  musical  elective  is  allowed  in  any  one  term. 


182 

A  certificate  of  proficiency  showing  the  advancement  may  be  awarded 
after  a  satisfactory  examination.  A  teachers'  certificate  is  given  for  com- 
pletion of  the  theoretical  work  and  two  other  studies,  with  the  required  literary 
work.  The  requirements  for  graduation  are  one  and  one-half  years  of  har- 
mony, two  terms  of  ear  training,  one  year  history  of  music,  one  year  analysis 
and  form,  history  of  music,  sight  singing  and  ear  training. 

The  tuition  for  piano  a  semester  is  $24  to  $40,  voice  $36,  violin  $32,  theory 
in  class  $10  to  $20. 

The  attendance  in  the  music  department  was  eighty-four  in  1911,  entire 
college  registration  being  three  hundred  forty-four.  In  1912,  the  music 
enrollment  increased  to  one  hundred  fourteen.  (324.  325.) 

Hastings  College  has  a  conservatory  with  two  teachers,  offering  piano, 
voice,  harmony,  counterpoint,  advanced  counterpoint, 
HASTINGS  COLLEGE  history  of  music,  analysis,  theory  and  ear  training. 
Graduation  requires  a  recital  from  memory. 

Piano  tuition  a  semester  is  $34,  voice  $20,  theory  in  class  $5,  for  each 
study.  (327.) 

Doane  College  has  a  department  of  music  employing  four  teachers.  The 
courses  include  piano,  violin,  voice,  organ,  harmony,  coun- 
DOANE  COLLEGE  terpoint,  composition,  history  of  music  and  public  school 
music. 

The  outline  of  study  requires  the  following  credits  for  bachelor  of  music: 

Entire  music  course  History 5  units 

English 10  units  Biblical  literature. .  .4 

German  or  French 10  Economics 4 

Mathematics 9  English  literature. .  .4 

Physics 8  Psychology 4 

Evidence  of  Christianity . .  3  Ethics 3 

A  music  diploma  requires  thirty  points  high  school  credits,  the  entire 
piano,  violin  or  voice  course,  and  four  years  in  theory  and  history  of  music. 
The  two  year  course  in  harmony  comprises  the  preparation  for  public  school 
music  teaching. 

Not  over  twenty-one  units  in  music  may  be  counted  toward  the  A.  B. 
degree. 

Tuition  in  organ  is  $1.50  a  lesson,  piano  50  cents  to  $1,  voice  65  cents  to 
$1,  violin  the  same,  theory  in  class  $3.  (328.) 

Creighton  University  has  an  orchestra  and  band  organized  in  1906,  a 

mandolin  and  glee  club  organized  in  1885.    A  vocal 

CREIGHTON  UNIVERSITY    and  instrumental  teacher  appears  upon  the  faculty 

list.     (329.) 

Grand  Island  College  has  a  school  of  music,  requiring  a  four  year  course 
for  graduation.    Piano  graduation  requires  harmony, 

GRAND  ISLAND  COLLEGE    history  of  music,  physical  culture,  and  two  years  of 
high  school  work.    The  work  is  aivi.ei  into  prep- 
aratory, academic  and  collegiate.    A  post-graduate  course  requires  a  recital. 
Both  voice  and  violin  require  a  four  year  course  for  graduation,  similar  to 
the  piano  department.  Candidates  must  have  two  years  of  English,  two  of  French, 
German  or  Italian,  one  of  history,  two  of  rhetoric,  composition  and  litera- 
ture, history  of  music  and  harmony  completed,  and  physical  culture  one  year. 
Tuition  a  semester  in  piano  is  $20  to  $57,  voice  the  same,  violin  $38.    (330.) 
Luther  Academy  has  a  schoool  of  music  with  two  teachers.      Theory 
includes   harmony,    counterpoint,   orchestration,   musical 
LUTHER  ACADEMY    analysis  and  history.     Applied  branches  include  piano, 
voice,  violin  and  organ;    other  studies  are  ear  training, 
sight  reading,  psychology  and  a  teachers'  course. 

Tuition  in  piano,  organ  or  voice  a  lesson  is  50  cents  to  75  cents,  harmony 
(four  in  a  class)  25  cents. 

The  enrollment  in  music  was  one  hundred  thirty-five  in  1907,  entire 
college  roll  being  three  hundred  one.  (331.) 


133 

KANSAS. 

The  earliest  catalog  available  for  the  University  of  Kansas  is 
1890,  at  which  time  it  had  a  well  estab- 

UNIVERSITY  OF  KANSAS    lished,  active  school  of  music.    Courses 

were  offered  in  piano,  voice,  harmony, 

counterpoint,  history  of  music,  elements  of  form  and  instru- 
mentation, lectures  on  art,  science  and  aesthetics  of  music,  and 
choral  classes.  The  object  was  (1)  to  furnish  instruction  in  all 
branches  to  amateurs  or  professional,  (2)  to  combine  music  and 
college  work,  (3)  to  train  teachers. 

By  act  of  the  legislature  in  1889,  musical  instruction  was  free 
to  all  who  passed  the  admission  requirements,  which  consisted  of 
elementary  harmony  equivalent  to'  twenty  lessons,  and  piano 
with  the  ability  to  play  Cramer,  and  Bach's  Two  and  Three 
Part  Inventions. 

The  course  in  1890  led  to  graduate  in  music.  Unless  the 
candidate  took  the  full  amount  for  both  years,  junior  and  senior, 
he  became  irregular  and  had  to  pay  rates  for  lessons. 

The  junior  year  included  piano,  voice,  harmony,  English  and 
seminary,  (lectures,  criticisms  and  talks  on  teaching.)  The 
senior  year  included  piano,  voice,  counterpoint,  elements  of 
instrumentation,  outlines  of  musical  forms,  English  and  history 
of  music. 

Courses  were  outlined  for  organ,  voice  and  violin,  with  the 
expectation  of  giving  a  diploma  the  following  year  in  each.  A 
graduate  course  in  church  music  was  also  in  preparation.  Students 
were  urged  to  take  one  college  study.  (332.  1890-91:79.) 

Interpretation,  conducting  and  flute  were  added  in  1891. 
Italian,  French,  German,  elocution,  dramatic  art,  English  and 
those  branches  of  mathematics,  natural  science,  history  and 
philosophy  that  bear  most  intimately  upon  the  fine  arts,  were 
introduced  into  the  courses,  all  the  latter  to  be  made  collegiate  as 
soon  as  possible. 

For  graduation,  a  thesis  or  an  original  composition  and  a 
recital  were  required.  (332.  1891-92:90.) 

In  1892,  a  four  year  collegiate  course  offered  a  bachelor  of 
music  degree.  German,  Italian  and  acoustics  were  added. 

The  artists'  course  in  voice,  one  year  in  length  and  giving  the 
above  degree,  required  entrance  equivalent  to  three  years'  prep- 
aratory work  in  voice  and  piano,  freshman  English  and  elocution. 
The  artists'  course  study  proper  included  voice,  oratorio,  English, 
Italian,  German,  history  of  music,  seminary  for  piano  and  voice, 
harmony,  graduating  thesis  and  a  recital. 

Entrance  requirements  for  violin  course  for  degree  were 
etudes  from  Fiorillo  and  Kreutzer,  junior  harmony,  three  years 
of  piano  and  freshman  English.  The  year  of  study  consisted  of 
violin,  counterpoint,  instrumentation,  English,  Italian,  German, 


184 

history  of  music,  outlines  of  music  forms,  seminary,  ensemble 
playing,  graduating  thesis  and  a  recital. 

A  two  year  normal  course  in  piano  was  the  same  as  the 
artists'  course,  omitting  the  second  year  piano,  the  admission 
requirement  being  the  same.  Graduate  in  music  was  given  at 
the  end  of  the  course. 

A  post-graduate  course  was  outlined  for  piano  and  violin. 
(332.  1892-93:44.) 

By  1893,  the  school  of  music  required  for  admission  in  all 
courses,  physical  geography,  United  States  history,  general 
history,  English  composition,  rhetoric,  harmony  and  piano. 

A  three  year  course  was  given  in  piano,  voice,  violin  and 
organ,  and  a  normal  course  of  two  years.  A  new  two  year  course 
of  public  school  music  was  introduced.  The  first  year  included 
tones  and  rhythm,  intervals,  solfeggio  in  two  and  three  parts, 
methods  in  the  grades,  the  second  year  being  private  lessons  in 
the  grades. 

The  course  of  study  for  the  bachelor  of  music  degree  was  as 
follows : 

1st  year  2d  year 

Piano  (Same  as  1st  year,  adding:) 

Technic  German 

Voice  class  Elocution 
Contrapuntal  harmony  2d  semester 

English  Harmony  becomes  composition 
Seminary 

Physical  training  4th  year 

Recitals  and  ensemble  Piano 

Aesthetics 

3d  year  Composition 

Piano  Recitals  and  ensemble 
Composition 

Seminary  2<*  semester 

German  Plano 

Recitals  and  ensemble  Composition 

Acoustics 

2d  semester  History  of  music 

Mythology  and  archeology  added  Thesis  or  original  composition 

Recital 

Voice,  violin  and  organ  each  had  a  similar  course,  voice 
requiring  less  theory  and  more  language,  organ  exacting  more 
piano  than  did  the  voice  course.  (332.  1894-95:50.) 

In  1896,  the  courses  of  study  were  differentiated  into  collegiate 
and  artists'  courses,  the  latter  requiring  higher  specialization, 
both  in  theory  and  performance.  Composition  was  emphasized. 
(332.  1896-97:55.) 

In  1898,  admission  to  all  courses  in  the  school  of  fine  arts 
included  civil  government,  algebra  one  and  one-half  years, 
geometry,  physics,  English  and  foreign  language  two  years. 
(332.  1898-99:61.) 

Besides  the  differentiation  into  two  courses  already  spoken 


185 

of,  a  two  year  collegiate  course  was  added  in  1899,  chiefly  for 
teachers.  (332.  1899-00:89.) 

By  1900,  theory  courses  were  put  in  the  course  of  study,  as 
well  as  applied  music.  (332.  1900-01:157.) 

By  1904,  the  normal  class  was  required  of  all  music  students. 
It  consisted  of  lectures  on  methods  for  teaching,  papers  and  dis- 
cussions, and  a  study  of  systems  in  use  in  the  schools.  Once  a 
month,  it  was  devoted  to  a  discussion  of  current  events.  (332. 
1904-05:241.) 

In  1905,  an  added  piano  grade  was  open  only  to  graduates  of 
the  artists'  course,  and  gave  master  of  music  degree.  Only 
students  were  admitted  who  had  studied  senior  composition. 
The  higher  degree  required  a  recital  and  the  performance  of  an 
original  work  of  larger  form.  (332.  1905-06:261.) 

'Cello  was  added  to  the  degree  course  in  1906.  (332.  1906- 
07:257.) 

By  1910,  the  faculty  numbered  twelve  instructors,  while 
twelve  more  gave  work  in  German,  drawing  and  painting,  Greek, 
English  language  and  literature,  physical  education,  physics  and 
expression. 

Entrance  requirements  were  twelve  units,  including  two  and 
one-half  units  in  mathematics,  three  in  foreign  languages,  one 
from  physical  science,  and  two  and  one-half  from  another  group, 
all  of  which  were  listed  for  choice  in  the  catalog,  and  admitted 
of  a  wide  range.  Added  requirements  were  the  ability  to  play 
fourth  grade  in  piano,  in  violin,  Wichtl  Book  I.,  and  Kayser 
36  studies  Book  I.  The  courses  enumerated  as  they  were  added 
each  year,  appeared  also  in  1910. 

The  studies  were  free,  but  with  the  provision  that  those  who 
fall  behind  and  thus  become  irrgular,  must  pay  the  usual  fees. 
The  instructors  received  only  part  pay  from  the  state,  the  rest 
being  made  up  from  the  tuition  of  music  students. 

The  rates  were  as  follows  in  1910: 

First  year  piano  a  semester  $50,  voice  $62,  violin  and  'cello  $50 
Second  year  55,  62,  50 

Third  year  67,  62,  62 

The  fourth  year  was  indentical  with  the  third  in  rates  for  non- 
residents, free  to  residents  of  Kansas. 

The  bachelor  of  music  degree  in  piano  requires  the  following 
course: 

1st  year  2d  year 

Piano  Duplicates  1st  year 

Technic  Normal  class  added 

Harmony  f  Voice 


English 

Physical  education  Select 

History  of  music  one 


Free-hand  drawing 

Expression 

German 


Recitals  and  ensemble  |  French 

Italian  and  Spanish 
Teaching  materials 


186 


3d  year 
Piano 

Composition 
Counterpoint 
History  of  music 
English 
Recitals 
f  Voice 

Select  I  Drawing  and  painting 
one    \  Expression 

|  German,  French,  Italian, 
[  Spanish 

2d  semester 
Acoustics  added 
One  selected  from  bracketed    electives 


4th  year 
Piano 

Canon  and  fugue 
Recitals 
Thesis 

English,  optional 
Composition 

2d  semester 
Instrumentation 
Composition 
Teaching  materials 


The  organ  course  leading  to  degree  is  a  three  year  course 
added  to  first  year  piano  course,  only  substituting  organ  for 
piano  in  the  last  three  years.  A  similar  substitution  is  made  for 
violin  or  'cello.  The  two  year  collegiate  course  equals  the  first 
two  years  of  the  four  year  course.  The  master  course  represents 
the  highest  grade  of  proficiency  in  the  school.  (332.  1909-10: 
257.  1912-13:269.) 

A  tabulated  summary  of  attendance  for  the  several  years  is 
as  follows: 

Music 
enrollment 

1890-91 63 

1891-92 109 

1892-93 184 

1893-94..  ..114 
1894-95..  ..126 
1895-96..  ..144 

1896-97 150 

1897-98 162 

1898-99 176 

1899-00 98 

After  1899,  the  fine  arts  school  was  listed  together:  practic- 
ally all  but  a  small  per  cent  were  music  students,  however. 

Both  entrance  credit  and  credit  toward  a  degree  are  given, 
one  unit  out  of  fifteen  for  the  former.  A  chair  of  music  has 
existed  since  1877,  and  the  credit  ranks  with  other  subjects. 
The  work  is  cultural  in  college,  professional  in  the  school  of  fine 
arts.  Thirteen  teachers  are  employed  in  offering  the  instruction.* 
(449.) 

Baker  University  has  possessed  a  professor  of  music  since  the  founding 
of  the  school  in  1858.     Music  has  existed  as  a  separate 
BAKER  UNIVERSITY    department  since  1906,  granting  the  bachelor  of  music 
degree  since  then. 

*"The  University  of  Kansas  has  appointed  Arthur  Nevin,  brother  of  the 
late  Ethelbert  Nevin,  head  of  its  department  of  music.  He  will  have  under 
his  supervision  all  the  music  in  the  Kansas  schools."  (543.) 


College  total 
474 
981 
1,038 
1,232 

1900-01.  . 
1901-02  .  . 
1902-03  .  . 
1903-04 

Music 
enrollment 
110 
93 
..112 
90 

College  total 
1,154 
1,233 
1,294 
1,319 

1,260 

1904-05 

109 

1,446 

895 
1,004 

1905-06  .  . 
1906-07 

.  .167 
173 

1,706 
1,786 

1,062 
1,087 
1,150 

1907-08  .  . 
1908-09  .  . 
1909-10  .  . 
1913-14.  . 

183 
201 
209 
..163 

2,063 
2,110 
2,303 

187 

Credit  toward  the  A.  B.  degree  is  given  to  the  extent  of  twenty  hours  for 
theory,  but  none  for  the  practical  courses.  Entrance  credit  to  the  extent  of 
one  unit  is  allowed  "if  taught  in  accordance  with  the  Kansas  State  High 
School  Manual."  (450.) 

The  university  has  a  preparatory,  a  certificate  and  a  degree  course,  from 
the  beginning  to  the  advanced  stage  of  artistic  proficiency.  It  has  well  organ- 
ized courses  in  piano,  organ,  violin,  voice,  with  splendid  theory  and  history 
of  music.  Students  may  specialize  in  theory,  composition  or  history  of  music. 

The  courses  lead  to  bachelor  of  music,  certificate,  supervisors'  course  in 
public  school  music,  post-grauuate  and  a  course  for  regular  college  students. 

Of  the  one  hundred  twenty  hours  required  for  the  music  degree,  fifty-five 
may  be  so  chosen  as  to  be  available  for  an  A.  B.  degree.  Thirty-one  hours 
of  theory  are  required  as  follows: 

Harmony 6  hours      Strict  counterpoint 2  hours 

Advanced  harmony 4  Canon  and  fugue 2 

History 4  Formal  analysis 2 

Thorough  bass 2  Elementary  composition ....   2 

Ear  training 4  Musical  appreciation 1 

Harmonic  counterpoint 2  Major  subject 48 

Minor  subject 6  Electives 0 25 

If  a  student  majors  in  voice,  or  violin,  his  minor  must  be  piano,  if  he 
majors  in  piano,  the  minor  must  be  voice  or  violin.  A  major  in  organ  requires 
a  minor  in  voice  or  violin,  and  a  second  minor  in  piano,  of  twelve  hours. 

One  private  lesson  of  half  hour  with  the  necessary  preparation  is  counted 
as  a  three  hour  course.  From  the  thirty-five  hours  of  electives,  twenty-one 
must  be  chosen  from  the  college  of  liberal  arts.  In  addition  to  these  require- 
ments, a  candidate  for  a  degree  must  give  a  recital  from  memory  during  the 
senior  year.  A  similar  recital  given  in  the  junior  year  will  allow  three  hours, 
extra  credit. 

The  certificate  course  has  the  following  requirements: 

Composition  and  history. . .  .21  hours 

Major  subject 24 

Free  electives 6 

A  public  recital  from  memory  gives  the  three  hours'  extra  credit. 
The  supervisors'  certificate  requires  the  following  subjects: 

Harmony 6  hours       Musical  history 4  hours 

Public  school  Sight  singing 2 

methods 4  Voice 6 

Practice  teaching  is  gained  in  the  model  classes. 

The  post-graduate  course  requires  work  in  free  composition  and  orchestra- 
tion, and  is  intended  primarily  for  graduates.  Consistent  specialism  demands 
work  in  modern  languages,  physics,  mathematics,  h'sLx>ry  and  philosophy. 

A  normal  class  in  piano  methods  is  offered  for  the  purpose  of  teaching 
students  how  to  teach.  When  necessary,  the  college  has  opportunity  for 
preparatory  work  in  piano,  voice  or  violin. 

The  music  enrollment  was  one  hundred  twenty-one  in  1913,  college  total 
five  hundred  fifteen. 

Piano  tuition  a  semester  is  $29  to  $45,  voice  is  $39  to  $45,  organ  one  lesson 
$25,  violin  or  orchestral  instruments  $39,  theory  $12.50.  (333.  1913:81.) 

Ottawa  University  has  a  department  of  music  under  the  school  of  fine  arts. 
The  college  offers  two  courses,  the  diploma  and,  the 

OTTAWA  UNIVERSITY  degree  course.  For  the  latter,  fifteen  entrance  units 
are  required.  The  preliminary  piano  course  must 
have  been  completed.  (335.  1911-12:82.) 


188 

A  major  must  be  selected  from  piano,  voice,  violin  or  organ  for  the  degree. 
The  course  of  study  is  as  follows: 

1st  year  2d  year  3d  year 

Modern  language  Modern  language  Modern  language  or  English 

Harmony  Harmony  Counterpoint 

Applied  music  Applied  music  History  of  music 

Theory 
Applied  music 

Two  years  of  piano  are  required  of  voice  and  violin  students. 
The  diploma  course  has  the  following  studies: 

1st  year  2d  year  3d  year 

English  English  German 

History  Harmony  Applied  music 

Harmony  Applied  music  History  of  music 

Applied  music  History  of  music  Theory 

Only  one  year  of  harmony  is  required  of  vocal  students.  A  piano  knowl- 
edge is  required  of  voice  or  violin  candidates. 

The  last  music  enrollment  was  one  hundred  eleven,  college  total  three 
hundred  eight.  (335.  1913-14:76,99.) 

Tuition  in  piano  is  $24  to  $40,  voice  and  violin  the  same,  theory  in  class 
of  four  being  $10  to  $18,  according  to  the  subject.  (335.  1911-12:82.) 

Oswego  College  for  women  has  a  department  of  music  with  a  seven  year 

piano  course.     The  violin  course  has  a  similar  standard. 

OSWEGO  COLLEGE  A  certificate  of  proficiency  is  given  at  the  end  of  the 

fourth  year,  at  the  end  of  the  fifth  or  sixth  year  a  teachers' 

certificate  or  diploma  in  music,  at  the  end  of  the  seventh  year  an  artists' 

diploma,  to  the  student  who  presents  concertos  and  solos  from  the  schools, 

in  the  various  stages  of  development,  and  who  has,  in  addition,  marked  ability. 

The  teachers'  course  includes  harmony  and  ear  training;  the  diploma 
course  requires  harmony,  analysis,  simple  counterpoint,  in  two,  three  or  more 
voices,  and  composition  in  the  smaller  forms,  both  vocal  and  instrumental. 
The  artists'  diploma  includes  counterpoint  and  composition,  canon  and  fugue, 
larger  composition  forms,  and  treatment  of  orchestral  instruments. 

All  students  must  take  history  of  music.  Two  years  of  piano  are  required 
of  voice  students. 

Fifty-two  students  were  registered  in  music  in  1912. 

Piano  tuition  a  year  is  $70,  violin  $60,  voice  the  same.  (336.  1913:40, 
54,57.) 

Washburn  College  offers  a  course  of  theory  in  the -school  of  fine  arts, 
besides  instruction  in  piano,  voice,  violin  and  organ. 

WASHBURN  COLLEGE  Credit  for  chorus,  glee  club  or  orchestra  is  given  at  the 
rate  of  one  hour  for  thirty-two  hours  of  actual  practice 

in  any  one  of  the  organizations.  The  total  amount  of  such  credit  may  not 
exceed  two  hours. 

The  piano  course  is  as  follows: 

ELEMENTARY  INTERMEDIATE 

(One  year)  (One  year) 

Piano  Piano 

Solfeggio  and  dictation  Solfeggio  and  dictation 

Musical  h'story  Harmony 

English  English  literature 

Physical  education  Sight  playing 


189 
(Advanced) 

JUNIOR  SENIOR 

Piano  Piano 

Harmony  Theory 

Sight  playing  Normal 
Normal  concert  department        Recital 

2d  semester  Counterpoint 
Harmonic  analysis 
Ensemble 

Organ,  violin  and  voice  duplicate  the  above  course  with  the  necessary 
substitution  in  the  major  applied  course. 

The  bachelor  of  music  degree  requires  at  least  two  years  after  graduation. 
Special  students  who  finish  a  course  in  applied  music  receive  a  certificate, 
harmony  being  required.  A  normal  class  for  teachers  requires  two  years. 
The  public  school  music  course  requires  one  year  and  includes  methods, 
piano,  voice,  solfeggio  and  harmony. 

Rates  for  piano  lessons  a  semester  are  $27  to  $40,  voice  the  same,  organ 
and  violin  $40  to  $54,  classes  in  theory  $10  to  $20,  private  lessons  in  applied 
study  $36  to  $54.  (337.  1912-13:64,105,119.) 

Kansas  Wesleyan  University  has  a  department  of  music  with  thorough 

and  systematic  education  in  the  theory  and 

KANSAS  WESLEYAN  UNIVERSITY  practice  of  music.  Piano  has  six  grades, 

and  is  regarded  as  fundamental  for  all  lines 

of  music.  Voice  has  five  grades,  violin  has  a  preparatory,  intermediate  and 
advanced  course. 

Graduation  requires  a  recital  from  memory,  and  an  examination  in  rudi- 
ments, theory,  history  of  music,  harmony  and  such  branches  as  are  essential 
to  a  good  understanding  of  the  subject. 

Suitable  diplomas  and  certificates  are  given,  according  to  the  course  of 
work  completed. 

Additional  instruction  is  offered  on  the  mandolin,  guitar,  and  all  the 
brass  instruments.  Composition  and  counterpoint  are  offered  also. 

Tuition  in  violin  study  for  ten  weeks  is  $30,  piano  or  organ  $18  to  $20, 
theory  in  class  $10. 

The  music  attendance  was  one  hundred  thirty-one  in  1909,  college  total 
being  one  thousand  three  hundred  sixty-one.  (338.) 

Fairmont  College  has  a  school  of  music  employing  five  teachers.  Com- 
pletion of  the  fourth  grade  gives  a  certificate.  Gradua- 
FAIRMONT  COLLEGE  tion  requires  an  applied  study,  two  harmony  courses  and 
a  program.  A  voice  graduate  must  have  two  years  of 
piano  and  two  courses  in  French  and  German.  The  fourth  grade  certificate 
requires  sight  reading,  memorizing,  technique,  musical  history  and  one  course 
in  piano. 

The  full  list  of  courses  includes  organ,  piano,  voice  and  violin  (each  five 
grades),  harmony,  counterpoint,  composition,  guitar,  banjo,  mandolin,  wood 
and  brass  instruments. 

Music  enrollment  is  seventy-one,  college  registration  two  hundred  fifty- 
three. 

Piano  tuition  for  ten  weeks  is  $12  to  $20,  voice  $15  to  $30,  violin  $20, 
organ  $30.  (339.) 

Midland  College  opened  a  department  of  music  "to  meet  the  growing 

demand  for  thorough  instruction  in  vocal  and  instru- 

MIDLAND  COLLEGE    mental  music."    College  credit  is  granted  for  music  in  all 

but   the   freshman  year.     Courses   are   given  in   piano, 

violin,  voice,  cornet,  theory,  harmony  and  history  of  music. 

A  candidate  for  the  teachers'  certificate  must  take  theory,  history  of  music 
and  such  studies  as  prepare  for  teaching.  In  addition  to  music,  each  student 
must  take  two  college  studies.  Both  the  diploma  and  certificate  require 
English,  history  and  French  or  German. 


190 

The  tuition  a  semester  for  piano  or  organ  is  $25,  voice  $18.50,  theory  $9.25. 
The  music  enrollment  is  one  hundred  thirty-nine,  college  total  being  two 
hundred  seven.     (340.) 

St.  Benedict's  College  has  a  department  of  music  offering  piano,  violin, 
,    roTT^rp     flute>    clarmet   and   co-net.     The   rates  for  piano 
lessons  and  use  of  instrument  are  $21,  for  violin 
$15,  other  instruments  $10.     (341.) 

Mt.  St.  Scholastica's  Academy  for  young  ladies  offers  training  in  piano, 

organ,  voice,  violin  and  guitar.    Tuition  for 

MT.  ST.  SCHOLASTICA'S  ACADEMY    five  months  in  piano  with  use  of  instrument 

is  $25,  voice  the  same,  violin  $20.     (342.) 


CHAPTER  VI. 

WESTERN  DIVISION. 
MONTANA. 

In  1895,  the  University  of  Montana  had  a  department  of 

music,  offering  vocal  and  instrumental 

UNIVERSITY  OF  MONTANA  music,  harmony,  theory  and  ensemble, 

piano  being  the  chief  study. 

During  the  year  of  1899,  such  artists  as  Godowsky,  Max 
Bendix  and  Jennie  Osborne  were  brought  by  the  university. 
(343.  1895-96:42,47.)  The  fees  were  $6  a  month. 

By  1903,  a  violin  teacher  was  added  to  the  department. 
(343.  1903-04:5.)  Orchestra  practice  was  given  the  following 
year.  (343.  1904-05:64.)  In  1907,  elementary  harmony  and 
lectures  on  history  of  music  represented  the  theoretical  side,  and 
had  become  fairly  established. 

By  a  resolution  of  the  faculty,  March  30,  1908,  eight  credits 
were  allowed  for  music  as  a  free  lecture.  No  credit  was  con- 
sidered for  preparatory  work.  Piano  study  had  to  be  above 
Czerny's  Velocity  Studies.  Violin  preparatory  included  Her- 
mann's and  Dancla's  Studies  and  below  this  grade.  (343.  1907- 
08:57.) 

In  1912,  the  courses  included  instrumental  and  vocal  music, 
piano,  voice,  violin,  orchestra,  glee  club,  sextet  and  a  phil- 
harmonic society.  Eight  credits  were  allowed  for  music  in 
college.  The  regular  college  courses  included  public  school 
music  courses,  both  elementary  and  advanced,  piano  and  violin. 

Tuition  -was  $20  a  semester  for  piano  or  violin.  (343.  1911- 
12:133.) 

The  summer  school  of  1914  offered  courses  in  piano,  voice, 
public  school  music,  sight  singing  (preliminary  work  in  ear 
training,  tone  thinking  and  notation,  recommended  to  public 


191 

school  music  teachers),  a  complete  course  in  theory,  harmony 
and  public  school  music  methods,  each  of  the  studies  allowing 
one  semestral  credit.  (345.) 

The  enrollment  for  the  several  years  was  as  follows: 

Music  Music 

enrollment    College  total  enrollment    College  tota 

1896-97 44  176  1903-04 46  313 

1898-99 54  206  1904-05 50  283 

1899-00 49  173  1905-06 27  289 

1900-01 41  235  1906-07 45  383 

1901-02 42  236  1907-08 33  291 

1902-03 34  302 

College  of  Montana  has  a  school  of  music  "being  especially  strengthened 
as  the  college  recognizes  the  importance  of  music  in 

COLLEGE  OF  MONTANA  acquiring  a  liberal  education."  The  courses  are  so 
arranged  that  a  student  can  combine  music  with  any 

other  study  or  department,  and  on  completing  the  desired  work  receive  a 
bachelor  of  music  degree.  In  the  junior  and  senior  years,  advanced  music  is 
one  of  the  electives  offered,  credit  being  given  for  acceptable  work  in  history 
of  music,  theory  and  harmony. 

The  courses  include  piano,  organ,  voice,  theory,  history  of  music  and 
stringed  instruments.  Candidates  for  a  degree  must  take  harmony,  counter- 
point, acoustics,  analysis,  etc. 

Tuition  in  piano  or  voice  for  a  term  of  twelve  weeks  is  $24.     (346.) 

WYOMING. 

The  University  of  Wyoming  was  opened  in  1887.  The 

earliest  catalog  in  the  library,  1896, 

UNIVERSITY  OF  WYOMING  shows  a  course  of  five  grades  offered 

in  piano,  with  a  tuition  of  five  dollars 
for  eight  lessons.  (347.  1896-97:104.) 

An  appended  note  in  1898,  states  that  "the  school  of  music 
is  the  only  department  of  the  university  not  supported  by  the 
state,  but  is  a  private  enterprise  supported  by  tuition."  (347. 
1898-99:64.)  Possibly  for  this  reason,  music  disappeared  from 
the  courses  during  the  next  few  years  of  financial  stress.  (347. 
1891-1903.) 

The  department  was  reinstated  in  '1903,  still  on  a  private 
financial  basis.  Instruction  was  offered  in  piano  and  voice. 
A  certificate  was  given  for  special  work,  and  a  diploma  for  finish- 
ing the  course.  The  piano  included  a  preparatory  and  a  four 
year  college  course,  the  latter  being  a  three  year  study.  (347. 
1903-04:104.) 

In  1904,  it  became  the  Wyoming  State  School  of  Music. 
Courses  were  added  in  theory,  harmony  and  history  of  music. 

A  further  enlargement  in  1908,  was  the  addition  of  organ, 
violin,  brass  instruction,  clarinet  and  flute.  Seven  teachers  were 
employed  instead  of  a  single  instructor.  (347.  1908-09:153.) 

At  the  present  time,  the  department  is  similar  to  the  college 
of  liberal  arts,  the  same  college  entrance  being  required.  Not 


192 

over  six  hours  in  orchestra  or  glee  club  may  count  toward  a 
degree. 

The  course  of  study  is  as  follows: 

1st  year  2d  year 

Elementary  harmony 2  hours  Harmony 2  hours 

History  of  music 2  Advanced  history  of  music ...  2 

Ear  training - 1  Applied  music 2 

Applied  music 2  English 3 

Education : 3  Electives 6 

English 3  Physical  training 

Electives 2 

Physical  training \  4th  year 

Musical  form 2  hours 

3d  year  Applied  music 4 

Harmonic  analysis 2  hours  Electives : 10 

Counterpoint 2 

Applied  music 2  (347.     1914:40,200.) 

Piano  pedagogy  for  pianists, 

normal   course  for  voice 

students 2 

Electives 8 

The  enrollment  was  as  follows: 

Music  College  total  Music  College  total 

1896-97 13  118  1903-04 ....  No  courses 

1898-99 23  185  1904-05 21  205 

1899-03 Nocourses  1914 9  423 

COLORADO. 

The  University  of  Colorado  opened  in  1877,  with  two  teachers 

and  forty-four  pupils.  In  1885,  a 

UNIVERSITY  OF  COLORADO  note  was  inserted  in  the  catalog  to 

the  effect  that  special  attention  would 

be  given  to  preparing  students  of  the  normal,  for  teaching  music 
in  the  schools  of  the  state.  A  conservatory  of  music  had  the 
following  courses:  Parlor  music,  church  music,  oratorio  chorus 
work,  orchestral  and  band  training.  (348.  1885-86:12.)  Gradua- 
tion required  about  three  years. 

The  conservatory  disappeared  the  following  year,  and  no 
mention  was  made  of  the  subject.  (348.  1886-87:14.) 

By  1888,  classes  in  singing  were  formed,  and  a  chorus  organized 
for  the  purpose  of  studying  the  classics.  (348.  1888-89:15.) 

In  1893,  the  courses  included  outline  of  theory  and  history, 
material  of  composition,  polyphonic  composition,  homophonic 
composition,  history,  aesthetics,  and  pedagogics  of  music,  histor- 
ical recitals,  sight  singing  and  glee  club.  (348.  1893-94:68.) 

The  Colorado  School  of  Music  was  organized  in  1894,  not  as  a 
department  of  the  university,  but  for  the  purpose  of  advancing 
musical  culture  in  the  university.  The  school  was  under  the 
auspices  of  the  "society  for  the  advancement  of  music,"  the 
university  professor  of  music  being  a  member  of  its  board. 


193 

Courses  were  offered  in  piano,  voice,  organ,  violin,  sight  singing, 
glee  club  and  chorus,  and  theory  including  the  same  courses  as 
in  1893.  (348.  1894-95:40.) 

The  conservatory  flourished  until  1900,  when  it  ceased  to 
exist.  The  glee  club,  choral  society  and  philharmonic  society 
were  listed  in  the  university  instead  of  the  conservatory  after 
1900.  College  courses  included  history  of  music,  theory,  analysis, 
sight  singing,  material  of  composition,  polyphonic  and  homo- 
phonic  composition.  (348.  1900-01:80.) 

By  1910,  canon  and  fugue,  composition,  orchestration,  history 
of  music,  aesthetics  and  philosophy  of  music  were  put  in  the 
graduate  school.  (348.  1910-11:155.) 

At  the  present  time,  the  courses  in'  the  college  of  liberal  arts 
include  harmony,  counterpoint,  canon  and  fugue,  composition 
and  orchestration,  history  of  music,  aesthetics  and  philosophy  of 
music.  The  graduate  school  offers  the  same  courses  as  in  1910. 
Some  extension  work  is  given  in  music  also.  (348.  1913-14:112, 
153,277.)  The  courses  offered  are  all  theoretical  and  no  fee  is 
required  for  any  of  the  work.  (451.) 

Colorado  College  has  a  conservatory  of  music  employing  four  teachers. 

Courses  are  offered  in  piano,  voice,  violin,  organ  and 

COLORADO  COLLEGE     'cello.    Daily  lessons  are  given  in  harmony,  counterpoint, 

orchestration    and    composition.      Completion    of    the 

course  gives  a  diploma.     The  music  enrollment  is  sixty,  college  total  five 

hundred  ninety-seven. 

Tuition  in  applied  studies  is  $35  a  semester.     (349.) 

The  University  of  Denver  has  a  glee  club,  a  quartet,  an  orchestra  and  a 

UNIVERSITY  OF  DENVER  ^B    Club'      TheFe    ls    n°    aCtivlty   °therwise' 


NEW  MEXICO. 

The  University  of  New  Mexico  was  opened  September,  1892. 

The  first  catalog  sent  was  in  1893, 

UNIVERSITY  OF  NEW  MEXICO  and  contained  this  note:  "The 

system  of  music  taught  in  the 

university  is  what  is  sometimes  known  as  " movable  do"  system, 
one  which  has  obtained  for  many  years  in  the  public  schools  of 
many  of  the  larger  cities  in  the  east,  and  everywhere  with  satis- 
factory results.  Besides  the  teaching  of  the  grammar  of  music, 
there  is  daily  chorus  work."  The  same  instructor  taught  del- 
sarte,  penmanship  and  music.  (351.  1893:27.) 

In  1896,  mention  was  made  that  music  was  not  a  part  of  the 
university,  but  training  was  given  in  vocal  music.  Students 
were  recommended  to  obtain  private  instruction  in  applied 
branches  in  some  conservatory  of  the  city.  (351.  1896:45.) 

In  April,  1898,  a  conservatory  was  organized  which  was  con- 
nected with  the  university.  Piano,  including  three  grades,  was 
the  only  fully  organized  department,  but  courses  were  offered  in 
7 


194 

organ,  voice,  violin,  mandolin,  guitar,  harmony  and  musical 
history.  Three  teachers  were  employed.  (351.  1898-99:69.) 

The  next  year,  other  stringed  instruments,  counterpoint, 
musical  form,  orchestra  and  musical  kindergarten  were  spoken  of. 
A  diploma  was  offered  for  graduation.  (351.  1902-03:37.) 

In  1903,  extension  work  was  attempted  by  sending  the 
Gamble  Concert  Company  out  over  the  state. 

Graduation  required  one  year  of  harmony  and  one  semester 
of  history  of  music.  Theory  included  harmony,  counterpoint 
and  composition.  Violin  offered  six  grades,  piano  five  and  voice 
four.  (354.  1903-04:94.) 

The  school  of  music  disappeared  in  1904,  and  no  further 
attempt  was  made  until  1907,  when  an  " instructor  of  music" 
appeared  on  the  faculty  list.  (351.  1904-1908.) 

In  1910,  a  "director  of  the  department  of  music"  and  a 
"student  assistant"  were  mentioned.  A  preparatory  and  a  four 
year  course  were  offered  in  voice.  Theory  of  music,  elementary 
harmony  and  notation  were  included.  The  collegiate  piano 
course  admitted  none  below  third  grade  advancement.  Violin 
instruction  could  be  obtained  by  arrangement  with  a  certain 
private  teacher,  a  pupil  of  the  Boston  Symphony  concert-master. 
(351.  1910-11:4,77.) 

Public  school  methods  were  added  in  1911,  a  year  in  length, 
one  semester  being  devoted  to  harmony.  (351.  1911-12:34.) 

At  present,  besides  piano,  vocal  courses  in  preparatory  and 
collegiate  work  are  given.  Class  instruction  is  given  in  theory 
and  public  school  music,  with  credit  in  the  preparatory  depart- 
ment of  the  school  of  education.  (351.  1912-13:88.) 

ARIZONA. 

The  University  of  Arizona  established  a  department  of  music 
in  September,  1906,  with  the  primary 

UNIVERSITY  OF  ARIZONA  object  of  furnishing  instruction  in 

vocal  music,  especially  chorus  and  glee 

clubs.  A  general  chorus  was  required  of  all  preparatory  students. 
Training  in  orchestra  was  offered  without  credit.  Private  in- 
struction in  vocal  and  instrumental  music  was  added  without 
credit,  at  the  rate  of  $20  for  ten  weeks.  (351.  1906-07:75.) 

The  following  year,  courses  carried  credit  as  follows:  Ele- 
mentary theory,  ear  training  and  chorus  one  unit,  advanced 
chorus  including  theory,  harmony  and  choral  works  two  units, 
glee  clubs  and  orchestra  each  one  unit.  (352.  1907-08:83.) 

The  instructor  resigned  in  1908.     (352.     1908-09:8.) 

At  the  present,  the  university  has  no  department  of  music. 
Entrance  credit  is  allowed  "same  as  is  given  in  accredited  high 
schools,"  but  none  toward  a  degree.  (452.) 


195 
UTAH. 

The  University  of  Utah  had  an  instructor  of  vocal  music  in 
1893.  (353.  1893-94:4.)  The  next  year, 

UNIVERSITY  OF  UTAH  vocal  music  was  required  of  all  second 
year  normal  students.  (353.  1895-96:67.) 

By  1897,  the  vocal  course  included  reading,  elementary 
principles  of  voice,  harmony,  part  singing,  and  was  required  of 
all  first  year  normal  students.  (353.  1897-98:64.) 

Supervisors  for  school  music  were  added  in  1901.  (353. 
1901-02:12.) 

In  1904,  a  supervisor  (over  the  nine  grade  training  school  of 
the  university)  was  listed.  He  also  had  charge  of  practice  teach- 
ing in  public  school  music.  (353.  1904-05:56.) 

Theory,  history  and  a  special  teachers'  course  were  put  in  the 
collegiate  department  in  1906.  (353.  1906-07:131.) 

By  the  next  year,  all  normal  students  were  obliged  to  meet 
the  necessary  requirements  in  music  before  graduation.  (353. 
1907-08:13.) 

Full  credit  was  given  for  all  courses  in  1908.  (353.  1908-09: 
195.) 

By  1910,  the  music  course  divided  into  section  A,  vocal  study 
of  operatic  or  choral  works,  section  B,  lectures  on  instrumentation 
or  orchestra,  section  C,  lectures  on  the  history  of  the  piano,  and 
the  methods  of  playing  the  same.  Harmony,  advanced  harmony 
and  history  of  music  were  offered.  (353.  1910-11:175.) 

An  appended  note  in  1911,  announced  that  "it  is  the  desire 
of  the  school  of  education,  to  encourage  the  engagement  of 
specially  certified  teachers,  to  teach  music  in  the  grades  of  the 
public  schools  of  the  state.  (353.  1911-12:  179.) 

In  1912,  the  public  school  music  course  differentiated  into 
special  preparation  for  the  grades  and  the  high  school.  (353. 
1912-13:178.) 

Correspondence  shows  that  credit  toward  a  degree  is  given, 
and  entrance  credit  to  the  extent  of  one  unit.  As  ranking  with 
other  subjects,  music  counts  as  a  non-preparation  subject  in 
high  school,  and  receives  a  half  credit. 

The  chair  of  music  is  about  fifteen  years  old,  and  offers  at 
present  elementary  and  advanced  harmony  four  hours  each, 
history  (ancient  and  modern)  two  hours  each,  solfeggio  three 
hours,  musical  form  in  conjunction  with  band  and  orchestra  three 
hours. 

About  forty  per  cent  of  the  students  take  music  with  a  pro- 
fessional aim  in  view.  Two  instructors  are  employed  and  one 
hundred  fifty  students  are  registered  in  the  department.  There 
is  extra  tuition  for  the  private  work,  none  for  class  instruction. 
The  instructor  feels  that  the  great  drawback  to  the  work  is  the 
inability  to  hear  great  masterpieces.  (453.) 


196 

Brigham  University  has  courses  which  extend  over  four  years  and  offer 
a  diploma.     One  hundred  forty-four  hours'  credit  are 

BRIGHAM  UNIVERSITY     required  for  graduation  in  music.     The  department 
offers  instruction  in  piano,  band  and  orchestra  practice, 

special  band  for  women,  harmony  three  hours,  composition  and  analysis  two 
hours,  form  two  hours,  cornet  and  clarinet. 
A  diploma  requires  the  following  credits: 

Music 40  hours  Modern  language .  ,  .8  hours 

English 20  Orchestra  or  band  vocal  class .  12 

History,  science  and.  mathe-  Instrumental  or  vocal ....     38 

matics 30  Theology 24 

Harmony  and  composition . .  10 

Where  special  work  is  done  in  voice  or  on  an  instrument,  a  special  certificate 
may  be  given.  (354.) 

The  music  courses  in  Brigham  Young  College  are  arranged  to  meet  the 
growing  demands  for  musical  culture.     Courses 

BRIGHAM  YOUNG  COLLEGE     are  offered  in  piano,  violin,  voice,  theory,  har- 
mony, choir  practice,  band  and  orchestra. 
The  four  year  college  course  is  as  follows: 

1st  year  2d  year 

Book  of  Morman 3  hours      New  Testament 3  hours 

English 5  English 5 

German  or  French 4  German  or  French 4  ' 

Voice,  piano  or  violin 2  Harmony 2 

Electives 6  Voice,  violin  or  piano 2 

Free  hand  drawing 2 

3d  year  Elective 2 

Old  Testament 3  hours 

English  literature 5  4th  year 

German  or  French 4  Church  music 3  hours 

Voice,  piano  or  violin 2  English,  2d  semester 5 

Psychology,  2d  semester 6  Voice,  piano  or  violin 3 

Electives 9 

(355.) 

NEVADA. 

In  1911,  the  University  of  Nevada  had  a  department  of  music 
with  two  classes,  and  eighteen  students 

UNIVERSITY  OF  NEVADA  enrolled  in  the  courses.  (356.  1911- 

12:40.) 

At  present,  the  university  offers  six  courses,  including  (1)  ele- 
ments of  music  (college  of  education),  (2)  methods  (for  public 
school  training  in  the  college  of  education),  (3)  history  of  music, 
(4)  harmony,  chorus  singing  and  interpretation,  (6)  voice  in 
sections  of  four  and  offering  no  credit.  The  first  four  courses 
offer  one  credit  each  semester. 

Musical  organizations  are  encouraged,  and  include  a  men's 
glee  club,  women's  glee  club,  band  and  an  orchestra.  (356. 
1913-14:79,178.) 

Credit  is  given  toward  a  degree,  and  a  half  credit  allowed  for 
entrance.  There  is  one  instructor  in  the  department,  and  the 
present  enrollment  in  music  courses  is  ninety-two,  college  attend- 
ance being  three  hundred  seven.  (454.) 


197 


IDAHO. 

The  University  of  Idaho  was  established  in  1889,  and  opened 
in  1892.  The  first  accessible  catalog  in 

UNIVERSITY  OF  IDAHO  the  library  is  1899,  and  shows  a  good 

department,  with  courses  leading  up  to 

the  bachelor  of  music  degree.  The  entire  course  was  free  to 
those  taking  the  full  regular  work  for  the  music  degree.  To 
those  who  took  only  a  part,  a  fee  of  $20  for  twelve  weeks  for 
applied  music  was  charged.  The  fee  applied  also  to  those  not 
sufficiently  advanced  to  rank  freshman  or  above. 

The  course  for  degree  was  as  follows: 


1st  year 
1st  semester 

Piano  

Algebra 

Rhetoric  and  literature. 
French  

2d  semester 

Piano 

Trigonometry 

Composition  and  style . 
French .  . 


1st  semester 

Piano .... 

German .  . 

Electives . 
2d  semester 

German .  . 

Electives . 


3d  year 


2  credits 
4 
.  4 
4 

.2 

.4 
.  4 
.  4 


5  credits 

4 

8 

4 

.8 


2d  year 
1st  semester 
Piano  ...................  2  credits 

French  lyrics  ............  4 

Modern  poets  ...........  4 

Elective  ................  4 

2d  semester 

Piano...  ............  ....2 

Corneille,  Racine,  Moliere.4 
Prose  writers  ............  4 

Electives  ................  4 


4th  year 
1st  semester 
Piano 

German  —  Schiller 
Electives 
Piano 

German  —  Freytag 
Electives.. 


6  credits 

4 

8 

5 

4 


The  musical  organizations  included  a  cecilian  society,  phil- 
harmonic club  for  study  of  piano  masterpieces,  glee  club,  ladies' 
quartet,  orchestra,  mandolin  and  guitar  club.  (357.  1899-00: 
18,50,64.) 

By  1901,  all  courses  but  counterpoint  and  composition  were 
free  to  the  candidate  for  a  degree  in  music.  The  candidate  was 
further  required  to  give  a  recital,  and  to  present  a  single  fugue, 
quartet  or  short  original  composition.  (357.  1901-02:46.) 

By  1903,  the  degree  course  was  heavier,  domestic  science 
being  added  in  the  first  year,  a  second  foreign  language  in  the 
sophomore  year,  and  history  of  music  was  included  in  the  junior 
year. 

By  1908,  one  hundred  thirty-two  hours  were  required  for  the 
degree.  Acoustics  had  been  added  to  the  courses,  while  a  recital 
was  required  in  both  junior  and  senior  years  without  extra 
credit.  (357.  1903-04:64.) 

"A  growing  need  for  trained  teachers  of  music  in  schools" 
caused  the  introduction  of  the  following  two  year  course  in 
public  school  music  during  1908: 


198 

1st  year  2d  year 

Sight  singing 2  hours  Rote  songs,  sight  singing 2  hours 

Ear  training 2  Methods 3 

Harmony 2  Harmony 2 

History  of  music 2  Child  voice 2 

Educational  psychology 3  Theory  and  practice 2 

Chorus 1  Chorus  and  conducting 1 

Voice .  .- .  .  2  Piano  (tuition) 2 

School  administration  (2d  semester)  Voice 2 

(307.     1908-09:69.}] 

By  1911,  regular  college  students  could  take  music  as  an: 
elective  up  to  a  maximum  of  sixteen  hours'  credit.  Voice  and 
violin  could  be  elected  by  the  candidate  for  the  musical  degree, 
to  the  extent  of  eight  credits.  The  course  in  piano  and  theory 
entitled  the  student  to  a  diploma.  (357.  1911-12:104.) 

By  1913,  the  theory  course  included  notation,  ear  training, 
sight  reading,  dictation,  appreciation,  general  theory,  history 
of  music,  harmonic  analysis,  harmony,  counterpoint  and  fugue. 
Piano  and  theory  are  the  courses  best  worked  out.  The  Dunning 
System,  using  the  Leschetizky  method  for  piano  development,  is 
used  in  the  children's  department.  Voice  has  a  four  year  course, 
violin,  organ  and  cornet  being  offered.  A  string  quartet,  in 
addition  to  the  previously  mentioned  organizations,  all  offer 
student  training. 

The  public  school  music  department  aims  to  superintend  suchj 
work  in  the  public  schools  and  high  schools  of  the  state,  and  has 
become  a  more  exacting  course  of  two  years.  Piano,  theory  and 
appreciation  have  been  added. 

All  courses  carry  college  credit,  and  any  of  them  may  be] 
elected. 

The  rates  for  piano,  voice  and  violin  a  semester  are  $30, 
fully  matriculated  or  regular  college  students  being  allowed  33%- 
discount.    The  public  school  music  course  is  $40  a  semester,  and 
is  given  in  classes  of  six.     (357.     1913-14:120.) 
The  summary  for  the  several  years  is  as  follows: 

Music  enrollment    College  total 

1901-02 94  329 

1902-03 68  332 

1903-04 59  367 

1911-12 45  (B.  M.  16)      527 

1913-14 42  (B.  M.  1)        747 

The  academy  of  Idaho  has  a  four  year  course  in  piano,  violin  and  voiced 
under  excellently  trained  teachers.    The  department  of 

ACADEMY  OF  IDAHO     music  is  very  satisfying  and  popular  among  the  student 
body.     (358.) 

WASHINGTON. 

In  1898,  the  school  of  pedagogy  of  the  University  of  Washing- 
ton required  the  student  to  pass 

UNIVERSITY  OF  WASHINGTON  an  examination  in  music,  which 

included  the  ability  to  sing  easy 

compositions  and  to  read  music  at  sight.     (359.     1898-99:89.) 


199 


A  conservatory  of  music  existed  in  1892,  offering  piano,  voice, 
kriolin,  organ,  harmony,  composition  and  orchestration.  Piano 
and  violin  each  had  five  grades,  organ  offered  three.  A  diploma 
m  piano  required  one  year  of  harmony,  voice  only  a  half  year. 
Fees  were  one  dollar  a  lesson  for  applied  branches,  harmony 
_  twenty-five  cents  in  class.  (359.  ^  1892:38.) 
History  of  music,  theory  and  practice  were  added  in  1894. 
359.  1894:54.) 

The  head  instructor  resigned  the  following  year,  and  nothing 
existed  down  to  1907,  when  a  musical  course  was  established 
vhich  offered  concerts  and  recitals  by  such  artists  as  Paderewski, 
>owell  and  Kubelik.  [359:  (1895-96)  (1896-97)  (1901-06)  (1907- 
18)  70.] 

In  1908,  credit  not  to  exceed  twelve  hours  was  allowed  toward 
;he  A.  B.  degree,  for  the  following  courses: 

Harmony 2  credits  a  semester 

Advanced  applied  music 2  credits  a  semester 

Chorus  or  orchestra 2  credits  a  year 

(359.     1908-09:147.) 

History,  appreciation  and  public  school  music  were  added  the 
next  year.  (359.  1909-10:164.) 

In  July,  1911,  the  board  of  regents  formally  added  a  depart- 
ment of  music,  and  later  in  the  year  courses  were  formulated 
eading  to  the  A.  B.  degree,  introducing  the  following  studies: 


1st  year 

Voice 8  credits 

Jistory  of  music 4 

Jhoral  study 2 

Inglish  composition 8 

Italian 8 

Physical  training  or  drill ....  4 

3d  year 

Voice 8  credits 

Harmony .  .4 

Choral  study 2 

French  or  German 8 

Political  science 0 


2d  year 

Voice 8  credits 

Harmony 4 

Choral  study 2 

French  or  German 8 

Physics 8 

Physical  training  or  drill ....  4 

4th  year 

Voice 8  credits 

Musical  appreciation 2 

Choral  study 2 

Program 6 

Philosophy 8 

Elective .  .  .  .  4 


For  instrumental  degree,  voice  is  simply  replaced  by  another 
major  in  the  above  course.  Two  years  of  Latin  may  replace  one 
year  of  French  or  German.  Admission  is  the  same  as  that  in 
the  college  of  arts.  The  candidate  for  a  degree  may  receive  a 
normal  diploma  by  meeting  the  requirements  of  the  department 
of  education.  (359.  1911-12:102.) 

In  January,  1913,  the  regents  approved  the  organization  of 
a  college  of  fine  arts.  This  allowed  a  bachelor  of  music  degree  in 
voice,  instrumental  music,  theory,  and  a  four  year  degree  course 
in  public  school  music  as  follows: 


200 


"1st  year 

English  composition 8  hours 

Modern  language 4 

Notation  and  terminology ...  0 
Ear  training  and  dictation ...  4 

2d  semester 

Sight  singing 2 

Elementary  theory 4 

Folk  dancing 2 

Applied  music 4 

Choral  study 2 


2d  year 

Modern  language 8  hoursj 

Physics 8 

Harmony 4 

Musical  history 4 

Musical  appreciation 2 

Child  voice 2 

(Grades) 

Applied  music 4 

Choral  study 2 


3d  year 

Modern  language 8  hours 

Political  science 6 

Harmony 4 

Methods 4 

Applied  music 4 


.  4th  year 

Philosophy 4  hours 

Form  and  analysis 4 

Advanced  methods 4 

(Normal  and  high  school  conducting) 

Musical  apprecition 4  hours 

Applied  music 4 

Education 1 

(359.     1913-14:262.) 

Candidates  are  advised  to  gain  proficiency  in  another  subject 
also,  as  there  is  demand  for  the  teaching  of  more  than  one  line. 
Tuition  in  applied  music  is  $16  to  $24  a  semester.     (359. 
1913-14:262.) 

The  summer  session  of  1914  offered  courses  in  history  of 
music,  musical  appreciation,  public  school  music  elementary  and 
advanced,  harmony,  elements  of  form  and  normal  methods  for 
the  piano,  the  first  four  courses  allowing  two  hours'  credit,  harmony 
two  and  a  half,  and  form  one  and  a  half  credits.  No  fees  were 
required.  (360.) 

Witman  College  offers  elective  courses  in  music  in  the  Witman  Con- 
servatory of  Music.     Only  a  limited  amount  of  applied 
WITMAN  COLLEGE    music  may  be  credited  toward  graduation.     Courses  are 
offered  in  ear  training  and  sight  reading,  harmony,  counter- 
point, composition,  orchestration,  history  of  music  and  ensemble.    A  candidate 
for  the  bachelor  of  music  degree  must  take  two  years  of  French  or  German 
beyond  the  admission  requirements,   thirty  hours  in  music,   one   complete 
applied  branch  in  the  conservatory,  besides  English  and  Biblical  literature. 
Graduation  requires  one  huncred  twenty-four  hours.     (361.) 
College  of  Puget  Sound  has  a  conservatory  of  music  employing  seven 
teachers.      Courses    are   given   in    piano,    voice, 

COLLEGE  OF  PUGET  SOUND     violin,  organ  and  theory  from  the  rudiments  to 

the  bachelor  of  music  degree.  Graduation  re- 
quires two  or  three  years,  or  longer.  Post-graduate  courses  are  given  in  the 
four  applied  branches. 

The  bachelor  of  music  degree  requires  the  following  credits: 
Academic  credits                               Musical  credits 
Modern  language.  ...  16  hours       Harmony 6  hours 


Social  science 

8 

English... 

14 

Physics  .  .  . 

8-4 

History  .... 

8 

Mathematics  
Electives 

.   8-4 
12 

Physical  culture  .  . 

...   2 

Counterpoint 

Composition 

Orchestration 
History  of  music . 
Applied  music .  .  . 


76  hours 


.   6 

.   4 
.   4 

.    8 
.28 

56  hours 
76 


Total . .  .  .  132  hours 


201 

Training  is  offered  in  choir,  glee  club  and  in  orchestra. 
Tuition  in  applied  music  a  semester  is  $27  to  $54,  for  theory  in  class  $6. 
The  enrollment  is  one  hundred  two  in  music,  three  hundred  ninety-four  in 
the  total  attendance.     (362.) 


OREGON. 

The  University  of  Oregon  began  instruction  in  1876.  In 
1896,  lessons  were  given  in  piano  and 

UNIVERSITY  OF  OREGON  voice,  with  classes  to  be  formed  in  har- 
mony for  special  music  students. 

An  oratorio  society  existed,  and  lectures  on  the  lives  of  com- 
posers were  offered.  (363.  1896-97:69.) 

The  next  year,  one  credit  a  year  •  was  given  in  college  for 
piano  study.  (363.  1897-98:78.)  In  1898,  this  was  changed  to 
one  credit  in  two  years.  (363.  1898-99:91.) 

By  1902,  a  school  of  music  existed,  offering  courses  in  piano, 
voice,  violin,  theory,  harmony  and  counterpoint.  These  led  to 
a  diploma  or  a  degree.  (363.  1902-03:85.) 

Composition  was  added,  and  regular  four  year  courses  out- 
lined in  1904.  (363.  1904-05:107.) 

In  1909,  a  course  was  introduced  for  teachers  since  "the 
necessity  of  special  training  for  teachers  of  music  is  realized." 
The  purpose  of  this  normal  department  was  to  give  the  music 
student  a  mental,  musical  and  technical  education  that  would 
fit  him  for  teaching,  with  more  than  a  superficial  knowledge. 

The  work  required  was  as  follows: 


1st  year 

Piano,  voice  or  violin 2  hours 

German  (Italian  for  voice) ...  5 

Literature 3 

English 3 

Personal  hygiene 0 

Physical  training 0 

3d  year 

Applied  major,  same 2  hours 

Sight  singing 1 

Harmony 1 

History  of  music 1 

Psychology 3 

Physics 1 

French 3 

Teaching  music 1 


2d  year 

Applied  major,  same 2  hours 

Harmony 1 

German 4 

English 3 

Elocution 1 

Physical  training 0 

4th  year 

Applied  major,  same 2  hours 

Sight  singing 1 

Education 3 

Harmony 1 

History  of  music 5 

Physical  training 0 

(363.     1909-10:188.) 


A  fully  developed  bachelor  of  music  degree  was  offered  in 
1911.  Entrance  requirements  must  be  met,  and  the  following 
studies  completed: 

Physical  training 0 

German 2  years 

English 2 

Literature 2 

Psychology .  , 1 


Education 1  year 

French 2 

Italian 1 

Physical  training ....  2 


202 

A  major  in  piano  required  two  years  of  voice,  and  training  in 
voice  must  be  accompanied  by  two  years  of  piano.  (363.  1911- 

By  1913,  the  degree  requirements  were  more  than  doubled 
and  were  as  follows: 

History  of  music  —  1  year  Personal  hygiene 1  hour 

Harmony 3  Public  speaking 1 

German 9  Literature 5 

English 6  French 9 

Psychology 3  Physics  of  sound 2 

Physical  training ...  2 

About  third  grade  proficiency  in  the  applied  major  was 
required  for  entrance  to  the  course. 

Piano  major  requires  two  years  of  voice  or  violin,  and  voice 
candidates  must  take  two  years  of  piano.  College  students  may 
take  applied  music  to  the  extent  of  two  semester  hours,  and 
further  credit  in  theory  to  the  extent  of  eight  semester  hours  is 
allowed  toward  the  A.  B.  degree.  The  special  course  for  teachers 
offers  much  the  same  studies  as  given  before. 

Tuition  in  piano  or  violin  a  semester  is  $20  to  $45,  harmony 
or  public  school  music  $5,  for  non-registered  students.  (363. 
1913-14:186,242.) 

The  enrollment  for  successive  years  was  as  follows: 

Music  Music 

enrollment    College  total  enrollment    College  total 

1896-97 20  478  1907-08 .  .  162  838 

1897-98 34  336  1908-09 .  .  168  1  185 

1902-03 116  529  1909-10 .  .  232  1  495 

1903-04 138  588  1910-11 .  .  .209  1,482 

1904-05 93  586  1911-12..  .    167  1613 

1905-06 108  626  1912-13..  .171  1697 

1906-07 97  673  1913-14 207  1,867 

Correspondence  shows  that  the  subject  does  not  rank  with 
other  studies.  Both  entrance  and  credit  toward  a  degree  are 
given.  (456.) 

Pacific  University  has  a  conservatory  of  music  with  complete  courses  in 
piano,  voice,  violin,  notation,  harmony,  counterpoint, 

PACIFIC  UNIVERSITY     canon  and  fugue,   composition  and  history  of  music. 
Applied  tuition  a, semester  is  $17  to  $22.50,  theory  in 

class  $4.50  to  $7.50.     The  summary  of  music  enrollment  is  sixty-seven,  college 
attendance  one  hundred  eighty-eight.     (364.) 

McMinnville  College  has   a   conservatory  offering  piano,  voice,   organ, 
harmony,  history  and  theory.     The  course  is  four 

MCMINNVILLE  COLLEGE  years,  with  a  post-graduate  department.  The 
bachelor  of  music  degree  has  the  following  course  of 
study: 

Applied  music 4  years  Harmony 3  years 

Italian  and  German .  ?  History 2 

Sight  singing ?  Theory .'.'.''? 

Accompanist  course .  ? 


203 


'coTl'ee  hTantnrollment  of  one  hundred  seventy-nine      (365  ) 


musc.  ...12  hour,      The^of.rnusK  .  .  .  .2  hour, 


$35,  theory  $5  to  i 
CALIFORNIA. 
In  1907,  the  University  o 


UNIVERSITY  OP  CALIFORNIA     choral 


Credit  was  given  in  1909,  only  upon  examination,  and  to 
continue  "until  fhe  schools  oi  :  the  ;stat<  ,  were  able  to  glve  system- 

^SSnlrsSon  oPSll  ZKote  thinMng,  notation 
sight  singing,  education  in  music,  song  material  advanced  sight 
Sng  and  dictation,  grammar  grade  methods    round  table 
hTgh  school  course,  musical  organizations  and  exhibitions  history 
of  music  harmony,  counterpoint  and  composition     Each  course 
gavTtwoS  of  credit.    (367.    1910-11  :9)    The  demonstration 
class  ted  enrolled  twenty-five  children  of  the  public  school  for 

PrainiC1912(f  Soring  in  music  required  either  an  original  com- 
position or  a  thesis  based  on  original  work  in  musical  theory, 

^ISmisttlchers  of  the  state  are  expected  to  conduct 
classes  in  music  as  their  regular  work,  teaching  methods  for 
"recommendation  for  teachers'  certificate"  are  given.  Teachers 
desfrinTto  fit  for  this  must  complete  thirty  units  in  music.  Not 
more  than  one  of  the  four  courses  in  vocal  or  instrumental  music 

^The6  pSenntncourseysetnclude  appreciation,  history,  of  music 
choral  musfc,  orchestral  practice,  symbols  and  terminology  of 
musfcal  notation,   ear  training,   harmony,   counterpoint,   voice 
Oaboratory  fee),  great  symphonies,  madrigal  music,  pianoforte, 


The  university  does  not  offer  technical  work  on  instruments, 
and  students  are  advised  to  keep  up  their  study  under  teachers 

°f  Enhance  credit  in  music  is  allowed  to  the. extent  of  six  to 
nine  units,  three  taken  from  sight  singing  and  dictation,  three 
from  performance,  and  three  from  history  of  music 

The  department  was  reorganized  in  1912.    beventeen 
are  now  offered  of  over  thirty  hours.    Music  has  equal  standing 


204 

with  other  colleges  of  the  university.  The  subject  is  considered 
under  three  heads,  (1)  as  a  language,  (2)  as  an  art,  (3)  as  a  science. 

The  backbone  of  the  course  consists  of  four  progressive  years 
in  composition,  beginning  with  harmony. 

The  summer  enrollment  was  six  hundred.  The  winter  classes 
had  an  attendance  of  three  hundred  seventy-five,  the  chorus  and 
orchestra  having  two  hundred  thirty-five  in  addition  to  this 
number.  (367.  1912-13:36,73,177.)  " 

In  1895,  the  University  of  Leland  Stanford  had  no  music 

department,  but  students 

LELAND  STANFORD  JR.  UNIVERSITY  were  allowed  university 

credit  for  work  in  harmony 

under  a  San  Francisco  teacher.  The  catalog  suggested  that  "a 
similar  arrangement  will  probably  be  made  in  1896,  with  courses 
in  harmony,  counterpoint,  canon,  fugue  and  instrumentation,  if 
a  sufficient  number  wish  to  take  the  courses." 

The  University  had  received  as  a  gift  from  the  Stanford 
Choral  Society,  a  number  of  vocal  scores,  with  orchestral  parts 
to  be  used  in  chorus,  also  affording  material  for  study  in  instru- 
mentation. 

Courses  were  offered  in  harmony,  sight  singing,  voice  culture 
and  song,  private  lessons  in  singing  to  those  who  wished  it,  six 
or  eight  weeks'  training.  (369.  1895-96:122,136.) 

The  same  conditions  continued  down  to  1897,  when  the  courses 
disappeared  from  the  catalog.  (369.  1896-97:114,137.  1897- 
1905.) 

In  1905,  training  for  Memorial  Church  Choir  was  inserted, 
with  one  credit  each  semester.  Besides  choir  practice,  three  great 
oratorios  were  studied  each  semester.  (369.  1905-06:161.) 

In  1907,  entrance  credit  was  allowed  in  appreciation,  lives  of 
composers,  familiarity  with  certain  instrumental  masterpieces, 
harmony,  counterpoint  and  performance  (one  year  of  systematic 
training.)  (369.  1907-08.57.) 

The  courses  offered  in  1911  were  harmony,  counterpoint, 
musical  form  and  analysis,  history  of  music,  ear  training  and  sight 
singing,  two  units  a  semester,  and  two  ensemble  classes  with  the 
usual  choruses.  (369.  1911-12:202.) 

Only  choir  work  gives  credit  toward  a  degree,  and  the  subject 
ranks  with  other  studies.  From  correspondence,  there  seems  to 
be  only  work  in  the  university  choir,  and  band  practice  for  which 
one  unit  each  semester  is  allowed.  (457.) 

Pomona  College  gives  credit  in  music  after  the  freshman  year,  if  it  is 

advanced  enough.    Courses  in  musical  history  and  theory 
POMONA  COLLEGE     ape  taken  ^      The  wQrk  offered  ig  ^  follows: 


Elementary  course  (freshman)  .......  2  hours  Counterpoint  ........  3  hours 

Musical  history  and  appreciation  ....  3  Free  composition  .....  3 

(sophomore)  Form  ....... 

Harmony  (sophomore  and  junior)  ----  3 


205 

For  a  musical  certificate,  marked  proficiency  must  be  shown  in  the  major, 
and  general  knowledge  in  the  minor,  piano  being  required  in  all  cases,  and 
ability  to  perform  an  entire  program  alone.  Certain  studies  are  required  in 
language,  history,  literature  and  philosophy. 

The  fees  in  applied  music  a  semester  are  $45  to  $60.     (370.    1914-15:63,83.) 

The  bachelor  of  music  degree  requires  a  major  and  a  minor  taken  from 
piano,  voice,  violin,  'cello  or  organ.  The  degree  may  require  more  than  one 
year  of  graduate  specialization  for  one  who  has  made  music  a  major  study. 
Credit  is  given  toward  the  A.  B.  degree,  not  to  exceed  thirty  hours.  Two- 
thirds  must  be  in  theoretical  music.  (370.  1913:66,85.) 

Mills  College  students  are  allowed  one  unit  credit  for  applied  music. 
Eight  units  is  the  maximum  credit  allowed  toward  gradua- 
MILLS  COLLEGE  tion.  Theory  courses  offer  harmony,  counterpoint,  ap- 
preciation, history  of  music,  applied  study  in  piano,  voice, 
violin  and  organ,  choir  and  choral,  music,  (one-half  credit  a  year). 

The  school  of  music  employs  ten  teachers.     (371.) 

University  of  Southern  California  has  a  department  of  music  which  is 

thirty  years  old.  Both  a  preparatory 

UNIVERSITY  OF  SOUTHERN  CALIFORNIA  and  a  collegiate  course  are  offered. 

There  are  no  requirements  for  ad- 
mission. A  university  diploma  requires  four  semesters  in  harmony  and  ear 
training,  two  in  musical  history,  two  in  theory,  a  public  program,  and  for 
piano  students  the  normal  class  work.  A  teachers'  certificate  is  offered  for 
the  completion  of  the  normal  course.  College  credit  is  allowed  not  to  exceed 
fifteen  credits. 

Tuition  in  piano  or  organ  a  semester  is  $38  to  $95 
Violin  or  voice  76  to    95 

Theory  in  class  15 

(372.     1911-12:201.) 

Music  is  recognized  as  part  of  the  curriculum  of  the  University  of  the 
Pacific.     Beginning  with  1912,  the  studies  of 

UNIVERSITY  OF  THE  PACIFIC     bachelor   of   music   degree   are   identical   with 

those  of  the  A.  B.  and  B.  Sc.  degrees,  except 

that  forty  units  in  applied  music,  and  twenty  in  theory  are  necessary  for 
graduation. 

History,  notation,  sight  singing  and  dictation  offer  three  units,  harmony 
and  composition  three,  applied  music  also  allowing  three  units.  (373.  1910- 
11:51.) 

Santa  Clara  College  offers  piano,  violin,  voice  and  brass  instruments. 

A  band,  orchestra,  glee  club  and  cecilian  choir  are 

SANTA  CLARA  COLLEGE    all  maintained.     There  is  no  indication  of  college 

credit  for  music.     (375.) 

St.  Vincent's  College  offers  piano,  organ  and  violin.  Two  teachers  are 
employed  in  the  department.  There  is  no  evidence 
of  college  rank  in  the  instruction  given.  (374.) 

The  following  tables,  made  out  from  the  colleges  listed  under 
the  university  section,  show  some  interesting  features.  Slightly 
over  two  hundred  are  used,  many  being  too  unimportant,  or  too 
doubtful  in  regard  to  statistics,  to  be  of  much  value  at  this  point. 

This  first  table  shows  the  approximate  standard  of  depart- 
ments of  music  over  the  country,  as  shown  by  the  material  col- 
lected upon  that  phase,  and  also  from  correspondence: 


206 


DEPARTMENTS  AND  CHAIRS  OF  MUSIC. 


NONE 

SLIGHT 

MEDIUM 

EXCELLENT 

39  institutions 

39  institutions 

77  institutions 

51  institutions 

Of  these,  17  are  large 
colleges  and  state  uni- 
versities.   8  being  state 
universities,  distributed 
as  follows: 

Of  these,  9  are  large 
colleges  and  state  uni- 
versities.     Of    these,    5 
are  state  universities,  as 
follows: 

Of  these,  16  are  large 
colleges  and  state  uni- 
versities, 11  being  state 
universities,  as  follows: 

Of  these,  25  are  large 
colleges   and   state  uni- 
versities, 14  being  state 
universities,  as  follows: 

STATE  UNIVER 

SITY    DISTRIBUTIO 

N  WITH  ABOVE   CL 

ASSIFICATION 

8  State  universities 

5  universities 

11  universities 

14  universities 

East  2 
South  4 
Midwest  1 
West  1 

East  0 

East  0  ]  Granting 
South  2  }        no 
Midwest.  .3        B.  M. 
West  6  j 

East...      .    1 
South  3 
Midwest...  6   (4B.  M.) 
West  4  (3  B.  M.) 

South  4 
Midwest                          1 

West  0 

EQUAL  CREDIT 

DOUBTFUL  EQUALITY  OF  CREDIT 

98.     Distributed  as  follows: 

66 

East                           21 

Of  these,  9  are  larj 
universities,     6     bein 
distributed  as  follows 
East  
South  
Midwest  .  . 
West  

jer  colleges  and  state 
j     state     universities 

0 

4 

South  12 
Midwest  44 
West  21 

38  of  these  being 

23  of  the  38  are  stat 
as  follows: 
East  
South  
Midwest.  . 

large  institutions, 
e  universities,  located 
.    1 

2 
0 

4 

..    8 

West  10 

APPLIED  STUDIES  AND  THEORETICAL  STUDY. 


SCIENCE  AND  APPLIED 
STUDY 

SCIENCE  ONLY 

APPLIED  ONLY 

120  institutions 

27  institutions 

17  institutions 

These  are  distributed  as  follows: 
East                      15 

17  of  these  are  larger  colleges 
and  universities,  distributed  as 

One    of    the    17    is    a    large 
western    institution,    the    other 

South  20 
Midwest  67 
West  18 

follows: 
East  10 
South  2 

16     are     all    smaller,     and    no 
degrees  are  conferred. 

Of  these    120     28   are   larger 

Midwest  3 
West                       2 

colleges  and  state  universities, 
distributed  as  follows: 
East  7 
South  5 

7  state  universities  of  the  17 
are  distributed  as  follows: 
East  2 
South  0 

West                       8 

Midwest                3 

Of  these  28,  20  are  state  uni- 
versities, distributed  as  follows: 
East  0 
South  5 
Midwest  7 
West  8 

West  2 

Under  "medium"  classification,  twelve  of  the  seventy-seven 
colleges  grant  the  B.  M.  degree,  all  being  smaller  institutions; 
one  in  the  east,  eight  in  the  midwest,  and  three  in  the  west. 


207 


Under  "excellent,"  twenty-four  of  the  fifty-one  grant  the 
degree,  and  are  located  as  follows:  Four  in  each  the  east  and 
west,  three  in  the  south,  and  thirteen  in  the  midwest.  Fifteen 
of  the  twenty-four  are  large  institutions,  and  of  the  fifteen  eight 
are  state  universities. 


The  first  table  shows  that  the  largest  majority  offer  a  medium 
course  of  study,  while  the  number  offering  an  excellent  course  is 
larger  than  one  would  expect.  In  this  respect,  the  state  uni- 
versities show  surprising  advance,  the  few  which  give  no  recog- 
nition being  mostly  in  the  south.  The  number  offering  equal 
credit  approximates  one  hundred;  the  east  and  west  being  a  tie, 
the  midwest  being  more  than  double  either  of  the  others  in 
numbers.  Two-fifths  of  the  colleges  offering  equal  credit  are 
larger  institutions.  State  universities  in  general  make  the  credit 
equal,  when  the  course  is  put  in.  As  the  table  shows,  doubtful 
credit  comes  from  smaller  schools,  not  from  the  larger,  as  a  rule. 

Applied  study  alone  finds  little  favor,  as  the  figures  show, 
only  one  large  college  being  so  listed.  The  bulk  of  the  institu- 
tions offering  musical  study,  combine  the  theoretical  and  the 
practical  study,  the  midwest  running  far  ahead  of  any  other 
section  of  the  country  in  this  regard.  Most  of  the  universities 
where  musical  science  is  taught,  are  located  in  the  east;  this  is 
more  possible  than  elsewhere,  for  students  may  obtain  private 
instruction  under  first  class  artists  in  the  larger  cities^  Unless 
universities  can  afford  to  employ  artists  in  the  larger  places,  they 
cannot  compete  against  superior  advantages,  for  the  students  are 
more  or  less  specialists.  The  indications  are  that  the  future 
development  of  these  larger  institutions,  will  mean  the  employ- 
ment of  the  leading  artists.  Such  an  innovation  is  highly  desir- 
able, both  for  the  artist  and  for  the  serious  college  musician. 

These  remarks  might  be  extended,  but  the  tables  will  assist 
the  reader  in  making  what  further  comparisons  he  wishes. 


208 


SUMMARY. 

An  important  phase  of  the  growth  of  musical  interest  in 
universities  and  colleges,  is  the  study  of  the  art  along 
THESES    serious  research  lines,  as  shown  in  theses.    The  depart- 
ment of  psychology  under  Prof.  Carl  Seashore  in  the 
State  University  of  Iowa,   has  done  important  work  in  this 
respect.     Recently,  three  theses  for  the  doctor  of  philosophy 
degree  have  been  completed  upon  the  following  subjects: 

"Accuracy  of  the  Voice  in  Simple  Pitch  Singing." 

WALTER  R.  MILES. 
"Effect  of  Training  in  Pitch  Discrimination." 

FRANKLIN  0.  SMITH. 
"Variation  in  Pitch  Discrimination  within  the  Tonal 

Range."  THOMAS  F.  VANCE. 

The  following  came  from  the  same  department  in  1910: 
"The  Curve  for  the  Variation  of  Pitch  Discrimination." 

MR.  SCHAEFER. 

Prof.  Seashore  himself  has  contributed  some  important 
results.  His  work,  as  well  as  the  nature  of  the  theses  above,  will 
be  dealt  with  to  more  length  later  under  the  head  of  research. 

The  University  of  Chicago  offered  a  thesis  from  the  German 
department  in  1913,  upon  "Tannhauser  and  the  Venusberg." 

The  sociology  department  of  Columbia  University  in  1913, 
turned  out  a  doctor's  thesis  entitled:  "Music  is  a  Human  Need, 
Increasing  and  Decreasing  with  Social  Pressure,"  by  Alma 
Webster  Powell. 

A  master  thesis  is  being  written  in  the  same  institution,  con- 
sisting of  a  music  appreciation  course  of  the  nature  of  "Imagery." 
The  work  is  being  done  in  the  departments  of  English  and 
psychology. 

The  placing  of  music  on  a  college  basis,  has  resulted  in  a 
number  of  so-called  theses,  of  more  or  less  serious  attempt,  hardly 
as  dignified  as  the  above  list,  for  advanced  degrees. 

The  general  tendency  is  for  institutions  to  require  a  thesis  in 
the  senior  year  of  the  bachelor  of  music  course,  very  often  allowing 
choice  of  a  thesis  or  public  program,  occasionally  requiring  both. 
The  amount  of  class  work  usually  taken  at  the  same  time,  pre- 
cludes the  possibility  of  any  greatly  extended  line  of  research  or 
investigation. 

In  this  respect,  music  departments  in  universities  still  lack 
the  uniformity  which  is  customary  in  carrying  on  research  work 
in  purely  scholastic  fields.  The  possibilities  are  very  rich,  and 


209 

work  along  these  lines  is  much  needed.  Moreover,  these  theses 
are  frequently  written  under  the  direction  of  the  head  of  the 
music  department,  who  has  not  himself  been  trained  in  research 
work,  and  may  not  even  hold  a  college  degree.  It  would  seem 
that,  what  is  very  often  a  senior  theme  receives  the  title  of  thesis. 

The  following  information,  which  is  of  sufficient  interest  to 
include,  shows  the  prevalence  of  thesis  requirement  in  the  musical 
departments  of  universities  and  colleges  which  have  been  dealt 
with  in  this  thesis.  No  information  could  be  gained,  either 
from  catalogs  or  from  correspondence,  in  some  instances;  it  may 
be  inferred,  therefore,  that  the  list  is  not  complete  upon  this 
phase. 

Correspondence  with  Amherst:  "The  list  of  theses  is  a  long 
one." 

Wellesley  has  three  theses. 

Tufts  has  "only  a  few,  perhaps  three." 

Correspondence  with  Smith  College  showed  the  following: 
"Development  of  Pianoforte  Sonata,"  1907.  "The  Modern 
English  Oratorio,"  1909.  "Development  of  String  Quartet," 
1910. 

A  thesis  or  original  composition  is  optional  in  the  music 
department  of  Columbia  University. 

Tulane  University,  Louisiana,  requires  a  thesis,  recital  or 
composition  for  graduation. 

The  University  of  Oklahoma  requires  a  thesis  in  the  bachelor 
of  music  course. 

The  University  of  Michigan  requires  theses. 

It  is  optional  in  the  senior  year  at  the  University  of  Wisconsin. 

At  De  Pauw,  Indiana,  each  senior  writes  a  thesis,  the  same 
being  true  at  the  University  of  Illinois. 

Both  Carleton  College,  Minnesota,  and  Parson's  College,  Iowa, 
require  a  thesis  for  the  bachelor  of  music  degree. 

A  thesis  or  an  elective  is  required  for  the  same  degree  at  Coe 
College,  Iowa. 

Each  member  of  the  history  class  writes  a  thesis  in  the  Uni- 
versity of  North  Dakota. 

The  University  of  Kansas  requires  a  senior  thesis,  averaging 
about  fifteen  a  year. 

The  following  have  been  written  for  the  degree  of  master  of 
music : 

"Euryanthe  and  Lohengrin."     1912. 
"American  Folk  Music."     1913. 
"Development  of  Opera."     1914. 

A  major  in  music  in  the  University  of  California,  requires 
an  original  composition  or  thesis  in  musical  theory,  criticism  or 
history. 

This  list,  although  not  intended  to  be  complete,  is  sufficient 
to  give  the  general  tendency.  It  will  be  noticed  that  serious 


210 

work  is  as  frequent  in  the  western  as  in  the  eastern  institutions, 
and  that  a  larger  majority  of  the  smaller  colleges  attempting  big 
results,  are  located  in  the  western  half  of  the  United  States. 

A  survey  of  the  musical  courses  presented  in  the  universities, 
Part  II,  Division  II,  reveals  the  fact  just  mentioned,  that  too 
heavy  a  college  course  is  carried,  almost  without  exception,  to 
allow,  as  yet,  of  much  valuable  research.  The  theses  upon 
musical  lines  which  show  this  serious  character,  have  practically 
all  been  written  in  college  departments  other  than  music,  so  far 
as  the  present  research  shows.  This  is  conclusively  true  in  regard 
to  the  masters  and  doctors  degrees.  The  subject  has  not  reached 
the  standard  yet,  where  most  universities  feel  justified  in  accord- 
ing this  highest  distinction.  Several  of  the  larger  institutions 
have  already  bestowed  the  doctor  of  music  degree  as  honorary 
degree  for  superior  work  in  musical  lines,  while  not  conferring  it 
in  the  school  proper.  (Columbia  University.  College  of  William 
and  Mary.) 

The  following  table  shows  the  degrees  of  the  instructors  in 
the  universities  and  colleges  already  spoken  of  in  this  thesis. 
It  represents  the  results  of  a  total  of  over  two  hundred  thirty- 
two  large  universities  and  smaller  colleges,  almost  that  entire 
number  being  in  the  tabulation. 

The  small  figures  show  where  some  instructors  hold  one  or 
more  degrees. 

Five  hundred  fifty-seven  hold  no  degrees,  either  musical  or 
collegiate,  sixty-five  have  the  A.  B.,  thirty- two  have  the  A.  M., 
and  seven  have  Ph.  D.  degrees. 

Almost  without  exception,  those  who  hold  college  degrees  are 
at  the  head  of  the  chair  of  music.  Seventy-eight  hold  the  Mus. 
B.  degree,  and  thirteen  have  Mus.  D.  degree.  These  thirteen  do 
not  include  the  twelve  who  hold  the  bachelors,  masters  or  doctors 
degrees  in  the  first  part  of  the  tabulation. 

These  figures  show  that,  while  a  number  are  teaching  in  the 
college  departments  without  academic  training,  the  number  with 
excellent  training  is  very  promising. 

Table  showing  comparative  number  of  instructors  holding 
degrees  in  departments  of  music. 


<>. 

•                            •                  •            O^                                                   T^< 

CO 
1—  1 

O 

O 

CO               TH         0         0                                   0 
t-              i—  i        CO        CO                                 OO 

CO 

10 

g 

:        :      :      : 

M 

d 

gq 

0 

0 
rH 

1 

s 

£ 

IS 

DQ 

pq 

"ft 

i—  l 

t- 

IN  DEPARTME 

pq 

od 

:        :      :    w|              : 

A 

CO 

EGREES 

pq 

^               i-l        CO        i-l                                 CO 
i—  1        -                                lO 

00 

t- 

Q 

1 

S1"* 

3 

CO 

co 

0 

1 

Q 

9 

CO                           i—  1        t-                                 <M 

CO 

1-1 

§ 

pq 

£ 

i—  1 

1-1 

g 

i 

s 

pa 
S 
p 
z 

pq 

Q                      dpq   -o        pq 

^  3               w  ^^  -  §    ^  3 

CO 

COMPARATIVE 

^ 

q                   qpq 

03                                                 OJ 

3                       la. 

<M 

CO 

CABLE  SHOWING 

d 

PH 

<M           •        •     "^^^ 

3? 

- 

S3              PJ        fi        C 

.2        .2     .2     .2 

W                   Cfi            W            OT 

'>         *>     *>     '£                      ! 

'5      3   3    3              § 

O                O        __.        —  i 

i  ill     I 

Z             GO        CO        Z                               l> 

3 

o 
EH 

212 
MECHANICAL  PLAYERS  IN  COLLEGES. 

The  following  instruments  are  in  popular  use  in  the  North 
Atlantic  Division:  Piano  player,  Aeolian  orchestrelle  and  Victor 
phonograph. 

The  orchestrelle  and  victrola  are  in  slight  use  in  the  South 
Atlantic  and  South  Central  Divisions. 

The  North  Central  Division  uses  the  piano,  Aeolian  or- 
chestrelle, "Cecilian,"  Victor  records,  lantern  slides,  auxetophone 
and  Tel-electric  piano  player. 

Limited  use  is  made  of  the  pianola  and  victrola  in  the  Western 
Division. 

Possibly  lack  of  funds  leads  to  the  use  of  a  piano  for  class 
demonstration. 

These  mechanical  devices  are  used  for  serious  study  in  courses 
of  history,  biography,  Wagnerian  study,  appreciation  and  glee 
club  practice. 

The  Virgil  practice  clavier  is  used  in  nine  of  the  larger  colleges, 
for  the  sake  of  acquiring  ready  and  more  rapid  muscular  develop- 
ment. 

The  use  and  importance  of  all  forms  of  players  can  scarcely 
be  estimated.  They  are  especially  valuable  in  sections  of  the 
country  where  the  people  do  not  have  access  to  the  higher  types 
of  opera  and  symphony  concerts. 

Harvard  has  a  room  with  a  piano  player,  where  students  get 
acquainted  with  masterpieces. 

One  of  the  Massachusetts  normals  has  a  pianola  used  to 
demonstrate  the  programs  of  coming  concerts.  The  glee  club  of 
the  same  normal  also  bought  several  hundred  dollars  worth  of 
music  rolls,  which  are  at  the  disposal  of  students.  The  Chelsea 
High  School  in  Massachusetts  uses  a  pianola  in  the  laboratory. 

Tufts  College  has  owned  an  automatic  player  since  1897,  and 
now  has  four  with  nearly  one  thousand  rolls.  All  the  players 
would  be  in  constant  use  if  there  were  quarters  for  them.  (477. 
1912:70.) 

The  Western  High  School  at  Washington,  D.  C.,  has  had  a 
piano  player  for  five  years  at  the  disposal  of  students,  and  it  is 
in  constant  use. 

Indianapolis,  Indiana,  has  fourteen  piano  players  in  the  lower 
schools,  and  will  possibly  have  twenty-four  by  another  year. 

The  Oberlin  public  schools  in  Ohio  have  a  phonograph  in 
each  building.  (478.  1913:168.) 

It  is  of  interest  to  note  the  opinions  of  some  of  the  leading 
musical  educators  concerning  the  use  of  mechanical  players. 
While  regarded,  by  some,  as  doubtful  when  first  used  for  educa- 
tional purposes,  a  wide  range  of  reading  has  failed  to  disclose 
any  adverse  criticism  at  the  present  time. 

Arthur  Whiting,  in  the  "  Outlook,"  says,  "  Mechanical  players 
will  help  us  to  think  in  terms  of  music." 


213 

Prof.  Lewis  of  Tufts  College  says,  they  "take  the  drudgery  off 
the  teachers  hands."  (477.  1912:70.)  He  further  says,  that  the 
automatic  instrument  is  the  most  serviceable  agent  of  musical 
education,  since  instrumental  composition  and  vocal  music  were 
separated.  It  is  the  most  efficient  means  so  far  of  increasing 
one's  equipment. 

G.  Stanley  Halls  says  automatic  instruments  should  not  be 
despised,  and  should  be  vastly  more  used  in  every  school  of  music. 
They  are  fine  for  the  study  of  style,  movement,  composition  and 
the  vast  growing  body  of  music. 

Robert  Schauffer  remarks  that  "automatic  music  will  eman- 
cipate art  from  its  present  thraldom,  as  printing  emancipated 
the  drama.  Ignorance  and  inertia  alone  are  delaying  the  next 
great  step  in  the  development  of  music." 

George  Coleman  Gow  of  Vassar  says,  "Automatic  players  are 
a  two-bladed  ax  in  the  hands  of  the  educator.  They  can  familiar- 
ize students  with  compositions  by  repetition,  a  system  which 
gives  wonderful  results."  (475.  1910:86.) 

"The  modern  piano  player  and  phonograph  make,  in  connec- 
tion with  the  printed  page,  a  laboratory  as  well  as  a  reading 
course  of  great  fascination,"  so  Prof.  Tyler  of  Beloit  College  says. 
(471.  1906:55.) 

The  Boston  school  committee  made  the  following  report: 
"In  many  schools,  instruction  in  singing  is  supplemented  by  the 
graphpphone,  a  practical  and  effective  means  of  training  boys 
and  girls  to  sing  well.  It  gives  them  a  love  for  and  appreciation 
of  good  music,  as  interpreted  by  the  great  artists  of  the  world." 
(6.  1912.) 

Edward  Birge,  supervisor  in  Indianapolis,  Indiana,  says: 
"The  means  of  giving  our  school  music  completeness  is  now  at 
hand,  in  the  wonderful  talking  machines  and  the  piano  players. 
They  will  do  for  the  child  what  the  teacher  does  when  she  reads 
to  him."  (478.  1913:161.) 

Charles  Skilton  of  the  University  of  Kansas  finds  the  sound 
producing  machines  of  great  value  in  teaching  conducting. 
Different  passages  may  be  repeated  as  often  as  desired.  He  says 
no  better  method  has  been  devised.  (476.  1911:65.) 

Prof.  Macdougall  of  Wellesley  says  the  piano  players  have 
done  a  great  service  to  music  students.  (471.  1906:61.) 


The  illustrations  serve  to  show  the  prevalence  of  mechanical 
players,  and  by  no  means  exhaust  the  supply  of  information 
along  these  lines,  since  their  general  use  is  almost  phenomenal. 
Only  the  added  expense  forbids  a  still  greater  use.  It  is  safe  to 
prophesy  that  the  advent  of  instrumental  music  into  the  schools 
at  public  expense,  will  increase  the  number. 


212 
MECHANICAL  PLAYERS  IN  COLLEGES. 

The  following  instruments  are  in  popular  use  in  the  North 
Atlantic  Division:  Piano  player,  Aeolian  orchestrelle  and  Victor 
phonograph. 

The  orchestrelle  and  victrola  are  in  slight  use  in  the  South 
Atlantic  and  South  Central  Divisions. 

The  North  Central  Division  uses  the  piano,  Aeolian  or- 
chestrelle, "Cecilian,"  Victor  records,  lantern  slides,  auxetophone 
and  Tel-electric  piano  player. 

Limited  use  is  made  of  the  pianola  and  victrola  in  the  Western 
Division. 

Possibly  lack  of  funds  leads  to  the  use  of  a  piano  for  class 
demonstration. 

These  mechanical  devices  are  used  for  serious  study  in  courses 
of  history,  biography,  Wagnerian  study,  appreciation  and  glee 
club  practice. 

The  Virgil  practice  clavier  is  used  in  nine  of  the  larger  colleges, 
for  the  sake  of  acquiring  ready  and  more  rapid  muscular  develop- 
ment. 

The  use  and  importance  of  all  forms  of  players  can  scarcely 
be  estimated.  They  are  especially  valuable  in  sections  of  the 
country  where  the  people  do  not  have  access  to  the  higher  types 
of  opera  and  symphony  concerts. 

Harvard  has  a  room  with  a  piano  player,  where  students  get 
acquainted  with  masterpieces. 

One  of  the  Massachusetts  normals  has  a  pianola  used  to 
demonstrate  the  programs  of  coming  concerts.  The  glee  club  of 
the  same  normal  also  bought  several  hundred  dollars  worth  of 
music  rolls,  which  are  at  the  disposal  of  students.  The  Chelsea 
High  School  in  -Massachusetts  uses  a  pianola  in  the  laboratory. 

Tufts  College  has  owned  an  automatic  player  since  1897,  and 
now  has  four  with  nearly  one  thousand  rolls.  All  the  players 
would  be  in  constant  use  if  there  were  quarters  for  them.  (477. 
1912:70.) 

The  Western  High  School  at  Washington,  D.  C.,  has  had  a 
piano  player  for  five  years  at  the  disposal  of  students,  and  it  is 
in  constant  use. 

Indianapolis,  Indiana,  has  fourteen  piano  players  in  the  lower 
schools,  and  will  possibly  have  twenty-four  by  another  year. 

The  Oberlin  public  schools  in  Ohio  have  a  phonograph  in 
each  building.  (478.  1913:168.) 

It  is  of  interest  to  note  the  opinions  of  some  of  the  leading 
musical  educators  concerning  the  use  of  mechanical  players. 
While  regarded,  by  some,  as  doubtful  when  first  used  for  educa- 
tional purposes,  a  wide  range  of  reading  has  failed  to  disclose 
any  adverse  criticism  at  the  present  time. 

Arthur  Whiting,  in  the  ''Outlook/'  says,  "Mechanical players 
will  help  us  to  think  in  terms  of  music." 


213 

Prof.  Lewis  of  Tufts  College  says,  they  "take  the  drudgery  off 
the  teachers  hands."  (477.  1912:70.)  He  further  says,  that  the 
automatic  instrument  is  the  most  serviceable  agent  of  musical 
education,  since  instrumental  composition  and  vocal  music  were 
separated.  It  is  the  most  efficient  means  so  far  of  increasing 
one's  equipment. 

G.  Stanley  Halls  says  automatic  instruments  should  not  be 
despised,  and  should  be  vastly  more  used  in  every  school  of  music. 
They  are  fine  for  the  study  of  style,  movement,  composition  and 
the  vast  growing  body  of  music. 

Robert  Schauffer  remarks  that  "automatic  music  will  eman- 
cipate art  from  its  present  thraldom,  as  printing  emancipated 
the  drama.  Ignorance  and  inertia  alone  are  delaying  the  next 
great  step  in  the  development  of  music." 

George  Coleman  Gow  of  Vassar  says,  "Automatic  players  are 
a  two-bladed  ax  in  the  hands  of  the  educator.  They  can  familiar- 
ize students  with  compositions  by  repetition,  a  system  which 
gives  wonderful  results."  (475.  1910:86.) 

"The  modern  piano  player  and  phonograph  make,  in  connec- 
tion with  the  printed  page,  a  laboratory  as  well  as  a  reading 
course  of  great  fascination,"  so  Prof.  Tyler  of  Beloit  College  says. 
(471.  1906:55.) 

The  Boston  school  committee  made  the  following  report: 
"In  many  schools,  instruction  in  singing  is  supplemented  by  the 
graphpphone,  a  practical  and  effective  means  of  training  boys 
and  girls  to  sing  well.  It  gives  them  a  love  for  and  appreciation 
of  good  music,  as  interpreted  by  the  great  artists  of  the  world." 
(6.  1912.) 

Edward  Birge,  supervisor  in  Indianapolis,  Indiana,  says: 
"The  means  of  giving  our  school  music  completeness  is  now  at 
hand,  in  the  wonderful  talking  machines  and  the  piano  players. 
They  will  do  for  the  child  what  the  teacher  does  when  she  reads 
to  him."  (478.  1913:161.) 

Charles  Skilton  of  the  University  of  Kansas  finds  the  sound 
producing  machines  of  great  value  in  teaching  conducting. 
Different  passages  may  be  repeated  as  often  as  desired.  He  says 
no  better  method  has  been  devised.  (476.  1911:65.) 

Prof.  Macdougall  of  Wellesley  says  the  piano  players  have 
done  a  great  service  to  music  students.  (471.  1906:61.) 


The  illustrations  serve  to  show  the  prevalence  of  mechanical 
players,  and  by  no  means  exhaust  the  supply  of  information 
along  these  lines,  since  their  general  use  is  almost  phenomenal. 
Only  the  added  expense  forbids  a  still  greater  use.  It  is  safe  to 
prophesy  that  the  advent  of  instrumental  music  into  the  schools 
at  public  expense,  will  increase  the  number. 


214 

Somewhat  along  the  same  line  is  the  tendency  to  make  collec- 
tions of  musical  instruments  for  scientific  study  in  ethnological 
and  sociological  problems. 

Yale  and  the  universities  of  Pennsylvania  and  Michigan  have 
each  acquired  such  collections.  They  are  used  in  the  study  of 
the  evolution  of  musical  instruments.  (471.  1906:21.) 


In  concluding  this  section  of  the  thesis,  the  writer  is  referred 
to  the  excellent  pamphlet  gotten  out  by  Arthur  L.  Manchester, 
upon  "Music  Education  in  the  United  States,"  which  considered 
that  phase  in  schools  and  colleges  in  1908.  The  same  was  pub- 
lished by  the  Government  Printing  Office  at  Washington. 


DIVISION  III.  • 

Educational  Extension. 


215 


CHAPTER  I. 

UNIVERSITIES,  COLLEGES  AND  PRIVATE 
CORPORATIONS. 

University  extension  as  such  assumed  its  true  form  in  the 
autumn  of  1866,  and  was  first  lectures  which  later  developed  into 
regular  class  work.  By  successive  evolutions  it  reached  its 
present  stage  of  development.  The  perfected  plan  arranged  a 
series  of  graded  lectures,  by  establishing  examinations  for  stud- 
ents, conducted  by  university  instructors  under  five  heads; 
lectures,  classes,  essays,  reading  and  study  with  examinations 
and  certificates.  This  system  has  extended  itself  throughout  the 
world,  and  has  been  the  means  of  reaching  thousands  of  human 
beings  denied  the  privilege  of  college  attendance.  The  American 
Society  at  Philadelphia  took  it  up  in  1890.  Chicago  took  up 
extension,  also  the  University  of  Wisconsin,  and  Columbia  with 
the  New  York  board  of  education  is  doing  excellent  work.  Yale 
likewise  is  doing  work  along  these  lines,  as  well  as  many  other 
colleges. 

One  of  the  larger  undertakings  along  the  line  of  extension  is 
that  of  the  American  Society  for  EX- 
EXTENSION  TEACHING  sion  of  University  Teaching.  It  is  sup- 
ported by  voluntary  contribution,  and 

has  made  steady  progress.  It  offers  a  number  of  courses,  many 
of  them  being  musical  in  character.  (459.  1907.) 

As  regards  the  manner  of  conducting  the  work,  Thomas 
Surette,  one  of  the  musical  lecturers,  said  the  courses  were 
carried  on  in  a  series  of  six  to  twelve  weekly  lectures.  As  adjuncts 
to  these,  (1)  a  syllabus  goes  into  the  hands  of  each  one  in  the 
audience,  (2)  the  lecture  is  preceded  or  followed  by  a  class  in 
which  questions  are  asked,  and  an  informal  discussion  held, 
(3)  meetings  of  specially  interested  members  of  the  "  centre "  so- 
called  are  held  during  the  week,  where  papers  are  read,  and,  if 
possible,  music  is  played.  The  society  also  offers  a  library  of 
books  with  each  course,  free  except  drayage.  (471.  1906:107). 

A  general  tabulation  is  of  interest,  and  shows  the  development 
of  the  course  of  this  society  as  follows,  for  a  period  of  ten  years: 


216 


No.  of 

No.  of 

Total 

all  courses 

music  courses 

attendance 

1890-91.  . 

1891-92.  .  . 

1892-93  .  .  . 

1 

"87 

1893-94  .  . 

1894-95.. 

'5 

'977 

1895-96... 

4 

1,145 

1896-97  .  .  . 

7 

1,725 

1897-98... 

17 

5,326 

1898-99  .  .  . 

.'   89- 

17 

5,464 

1899-00..., 

95 

14 

3,349 

1900-01... 

35 

10 

1901-02.... 

84 

13 

4",095 

Taking  up  the  work  in  1898,  where  the  records  are  more 
complete,  seventeen  courses  were  given,  confined  to  the  territory 
of  New  York  and  New  Jersey.  The  subjects  of  the  lectures  were 
" Great  Composers  of  the  Classical"  or  the  "Romantic  Period" 
and  "Wagner's  Music  Dramas,"  with  the  attendance  averaging 
from  eighty-five  to  over  a  thousand.  (459.  1898-99.) 

In  1899,  fourteen  lecture  courses  were  offered  in  music,  in  all 
extension  subjects  ninety-five  courses. 

Mr.  Surette  said  of  the  lectures  on  composers,  that  the 
attendance  increased  fifty  per  cent  at  each  meeting,  and  some 
were  turned  away.  (459.  1899-00.) 

Mr.  Hugh  A.  Clarke  of  the  University  of  Pennsylvania,  and 
Prof.  Daniel  Gregory  Mason  of  Columbia  were  both  added  to 
the  lecture  circuit. 

During  1907,  evidences  of  growth  were  marked,  the  attend- 
ance being  the  largest  in  the  history.  There  was  a  further  ex- 
tension to  the  more  remote  and  smaller  towns,  where  extension 
represented  the  only  means  of  adult  study.  The  centers  were 
still  confined  to  the  adjoining  states,  New  York,  New  Jersey, 
Pennsylvania,  Delaware,  Maryland,  Connecticut  and  Rhode 
Island.  (459.  1907-08.) 

For  1891,  the  Department  of  the  Interior  gives  the  following 
list  of  educational  institutions  offering  extension  work:  The  uni- 
versities and  colleges  of  Bowdoin,  Harvard,  Brown,  Hartford 
Theological  Seminary,  Columbia,  Beloit  College,  University  of 
the  City  of  New  York,  Pratt  Institute,  Brooklin  Institute,  Uni- 
versity of  West  Virginia,  Vanderbilt  University,  Universities  of 
Cincinnati,  Indiana,  Illinois  Wesleyan,  Lake  Forest,  North- 
western, Michigan,  Wisconsin,  Iowa,  Missouri,  Kansas,  California 
and  the  Norwich  Free  Academy  of  Connecticut. 

While  not  all  represented  extension  teaching  in  music,  a 
general  educational  activity  in  any  line  usually  stimulates  that 
in  a  special  field.  (485.) 

For  a  more  detailed  account  of  the  present  status  of  extension 
work,  the  reader  is  referred  to  the  very  excellent  article  of  Louis 
E.  Reber,  dean  of  university  extension  in  the  University  of  Wis- 


217 

consin,  Bulletin  1914,  No.  19,  whole  number  592,  which  was 
printed  last  year  at  Washington,  and  embodies  survey  of  the 
United  States,  accompanied  by  a  brief  history,  and  shows  the 
phenomenal  growth  of  such  work.  (463.) 

In  correspondence  with  universities  and  colleges,  it  was  learned 
that  a  number  give  extension  courses  in  music,  some  have  no  such 
department,  while  others  did  not  answer  the  question. 

Harvard  gives  such  courses,  Smith  College  does  not,  Brown 
University  offers  ''The  Song  and  Song  Composure"  by  Mac- 
dougal,  Columbia  has  about  fourteen  courses  on  an  average. 
John  B.  Stetson  University  of  Florida  offers  the  following  courses: 
"The  Pianoforte  and  Its  Literature,"  " Beethoven  and  His  Fore- 
runners," "Modern  Composers,"  "'The  Organ  and  Its  History," 
"Bach"  and  "The  Romantic  Composers."  Tulane  University, 
Louisiana,  gives  music  1,  while  the  university  has  three  concert 
companies  making  trips  under  the  university  extension  bureau. 
The  University  of  Wisconsin  offers  theory  of  music,  harmony, 
public  school  music,  principles  of  instrumental  instruction, 
appreciation,  history  of  music  and  community  music.  North- 
western has  public  school  music  and  piano  extension.  The  Uni- 
versity of  North  Dakota  has  lecture  recitals,  male  and  mixed 
quartets,  orchestra  and  directors  for  community  music  antic- 
ipated. The  University  of  Nebraska  sends  out  the  band  and  male 
glee  club.  The  University  of  Kansas  offers  lectures  and  concerts 
for  Kansas  communities,  a  development  of  community  music. 
Oswego  College,  Kansas,  gives  history,  theory,  methods,  etc.; 
the  University  of  Colorado  has  some  but  not  specified,  the 
University  of  New  Mexico  sends  out  the  Gamble  Concert  Com- 
pany. 

The  universities  of  West  Virginia,  Indiana,  De  Pauw,  South 
Dakota,  Baker,  Utah,  Nevada  and  Oregon  all  reported  they  had 
none. 

Since  extension  may  include  concert  work  or  study  equally 
well,  it  is  possible  that  a  very  small  minority  of  educational 
institutions  offers  no  such  instruction.  The  understanding  upon 
this  point  is  rather  indefinite  in  some  cases.  Extension  teaching, 
in  its  broadest  sense,  should  mean  a  diffusion  of  knowledge 
whether  from  study  or  text  books,  as  the  case  may  be. 

Mr.  Reber  finds  extension  through  lectures  in  the  Universities 
of  Michigan  and  Wisconsin.  During  1912  to  1913,  the  latter 
institution  gave  two  hundred  nine  courses,  two-fifths  being  con- 
certs. (463.  1914:30.)  Local  classes  in  music  are  being  in- 
stituted throughout  Missouri  by  the  University.  (463.  1914:37.) 

Union  College  of  New  York  offers  musical  entertainments  at 
an  expense  of  one  thousand  dollars,  paid  for  by  admission.  (463. 
1914:62.) 

The  University  of  California  offers  correspondence  courses, 
lectures  and  university  recitals.  The  department  sees  an  un- 


218 

limited  field,  and  hopes  to  establish  lecture  and  concert  routes 
throughout  the  state. 

Wisconsin  offers  perhaps  one  of  the  most  interesting  studies 
in  this  line  of  work,  which  is  divided  into  five  bureaus,  one  being 
community  music.  Its  chief  aim  is  to  spread  the  use  of  music 
throughout  the  state,  by  group  or  class  stimulation.  (463. 
1914:53.) 

To  this  end,  four  lines  of  work  are  suggested:  A,  singing 
societies  organized  by  university  trained  people  as  a  means  of 
cooperation;  B,  series  of  lectures  and  musical  entertainments 
directed  by  the  university;  C,  university  cooperation  in  musical 
affairs,  organized  and  directed  by  community  officials;  D,  festival 
activities  of  the  class  C. 

Under  A  would  come  singing  societies  with  work  in  elementary 
theory  and  practice,  perhaps  a  choral  union  or  oratorio  society. 

Under  D,  every  community  would  have  its  own  spring 
festival.,  (317.  1912:129.) 

The  thoroughly  democratic  development  of  this  work  in 
Wisconsin  precludes  for  the  university  more  than  the  ordinary 
success  of  such  attempts.  It  removes  music  from  the  status  of  a 
luxury  for  the  few,  and  makes  it  practically  a  gift  for  the  many. 
This  must  necessarily  be  so,  if  music  is  to  be  generally  diffused 
in  an  educational  way,  since  industrial  conditions  will  very  likely 
always  hinder  the  acquisition  of  a  costly  musical  equipment  for 
the  vast  majority.  It  would  seem  very  logical  that  the  uni- 
versities should  be  the  organs  best  adapted  to  perform  this  task, 
since  they  are  the  sources  of  general  educational  advancement, 
and  form  the  most  powerful  educational  center  in  each  state. 

An  unusual  form  of  extension  was  spoken  of  in  the  "Thursday 
Musical  Clarion/'  the  official  organ  of  the  society  in  Minneapolis, 
and  was  as  follows:  "The  public  library  in  Kansas  City  has  a 
collection  of  pianola  rolls  for  circulation.  Gary,  Indiana,  has  a 
similar  collection.  Peoria,  Illinois,  has  had  a  circulating  library 
of  printed  music  for  a  number  of  years.  The  Los  Angeles  library 
has  a  sound-proof  room  for  trying  over  new  music.  The  Cin- 
cinnati library  has  had  the  circulating  rolls  for  over  a  year.  The 
Evanston,  Illinois,  library  has  a  department  that  would  take  an 
article  alone  for  its  description.  It  has  the  Sadie  Knowland 
Coe  music  collection/'  (539.) 

This  new  phase  again  introduces  the  element  of  economy, 
since  the  cost  of  new  rolls  is  not  a  small  item.  Such  a  circulating 
library  would  be  used  by  a  large  class  of  people  who  never  make 
use  of  the  printed  matter  in  libraries.  Moreover,  by  public 
regulation  of  the  records  selected,  it  is  more  than  probable  that 
such  a  library  would  reach  and  elevate  the  taste  of  a  class  who 
would  never  be  persuaded  to  seek  music  of  a  more  elevating  type 
than  the  cheap  shows  and  the  dance  hall.  Since  mankind  prefers 
that  with  which  he  is  most  familiar,  music  rolls  form  a  ready 


219 

source  of  repetition,  and  at  public  expense  offer  an  opportunity 
for  checking  up  the  class  of  music  used.  There  is  every  reason 
to  infer  that  fewer  records  would  be  purchased  by  those  in  better 
circumstances  even.  For  observation  readily  shows  that  a  taste 
for  the  cheap  and  commonplace  in  art,  permeates  all  classes  of 
society. 


CHAPTER  II. 

In  dealing  with  group  singing,  Boston  naturally  ranks  first 

as  the  pioneer  in  training  children  to 

FESTIVALS  AND  CHORUSES  sing  in  an  educational  way,  while  the 

name  of  Mason  is  inseparably  linked 
with  its  development. 

Cincinnati  is  a  close  second  and  has  been  called,  very  aptly, 
the  mother  of  festivals.  This  city  instituted  the  North  American 
Sangerbund,  an  outgrowth  of  the  first  "Sangerfest,"  June  1-3, 
1849.  Choruses  from  Louisville  and  Madison,  Indiana,  joined 
with  the  local  German  bodies  in  the  festival.  The  school  has 
been  the  vast  recruiting  ground  for  those  musical  events.  Music 
was  put  formally  in  the  Cincinnati  schools  in  1840. 

These  same  Sangerfests  were  held  in  1849,  1851,  1853,  1856, 
1870  and  1879.  In  1870,  some  of  the  citizens  conceived  the  idea 
of  an  American  Music  Festival  to  be  held  in  May.  One  was 
planned  with  the  presence  of  Thomas,  and  was  held  in  1873. 
A  permanent  festival  chorus  was  created.  In  the  first  two 
meetings,  Cincinnati  with  adjoining  towns  made  a  chorus  of  two 
thousand.  This  was  called  "The  Harmonic  Society/'  and  existed 
for  twenty-five  years.  An  "Orpheus  Society"  still  exists  and 
contributes  to  the  music  life  of  the  city.  Other  present  day 
musical  organizations  are  "The  Cincinnati  Choral  Society," 
"The  Apollo  Club,"  "The  Society  of  Musical  Art,"  and  "The 
Mozart  Club." 

In  1904,  the  festival  program  included  Bach's  B  minor  Mass, 
Beethoven's  "Missa  Solemnis,"  the  Ninth  Symphony,  Elgar's 
" Dream  of  Gerontius"  and  "Die  Meistersinger."  (478.  1913:7.) 

Ann  Arbor,  Michigan,  holds  one  of  the  older  of  these  state 
festivals.  It  was  the  first  state  to  develop  a  large  interest  in 
music,  and  is  said  to  have  one  of  the  largest  student  choruses  in 
this  country.  The  yearly  festivals  are  occasions  of  great  dignity, 
and  maintain  musical  standards  of  a  very  high  order,  such  as  a 
university  should  encourage.  At  the  twentieth  occasion,  the 
Chicago  Orchestra  and  the  Metropolitan  Opera  singers  took  part. 
These  festivals  are  heavily  patronized  by  the  rural  districts,  and 
seats  may  be  secured  at  from  forty  to  sixty  cents  a  piece. 


220 

Norfolk,  Connecticut,  holds  another  such  festival. 

One  of  the  most  unique  is  the  Bach  Festival  held  at  South 
Bethlehem,  Pennsylvania,  sometimes  more  than  yearly.  No- 
where in  this  country  can  Bach  be  heard  so  favorably.  The 
leader  is  a  Bach  scholar,  while  Bethlehem  is  a  Moravian  church 
center.  People  come  from  as  far  as  Canada  to  hear  the  festivals. 
(536.  1913:311.) 

In  October,  Maine  held  its  annual  festival,  first  at  Bangor, 
then  at  Portland,  with  a  chorus  of  eight  hundred  voices,  the 
Boston  opera  house  orchestra  and  first  class  soloists.  (540.) 

One  of  the  finest  choruses  in  the  country  is  that  of  Damrosch 
in  New  York  City,  which  puts  on  a  number  of  the  best  choruses 
each  year,  at  prices  within  the  reach  of  most  people.  It  is  a 
standing  chorus,  selected  and  trained  for  such  work. 

One  could  go  on  indefinitely  describing  such  festivals,  for  they 
have  sprung  up  as  if  by  magic  all  over  the  country;  universities 
and  colleges  almost  without  exception  put  on  some  chorus  usually 
with  a  visiting  orchestra,  and  have  one  performance  at  least,  if 
not  able  to  support  a  music  festival. 

These  manifestations  are  one  of  the  strongest  evidence  of  a 
growing  musical  life,  and  in  a  way  that  is  truly  educational. 
(536.  1913:311.) 

One  of  the  latest  developments .  in  musical  life  is  the  in- 
stituting of  children's  choruses  in  these  jubilees.  It  would  seem 
that  the  ethereal  quality  peculiar  to  the  child  voice  is  just  be- 
ginning to  be  realized. 

Milwaukee  gave  Pierne's  "Children's  Crusade"  in  1909,  so 
also  did  New  York.  The  latter  city  gave  a  concert  with  thirty- 
five  hundred  grade  children,  fifteen  hundred  high  school  pupils, 
and  Schumann-Heink  as  soloist  in  1909.  (505.  1909:675.)  The 
idea  of  children's  choruses  has  spread  very  rapidly  to  the  western 
states. 

The  work  of  St.  Louis  along  this  line  has  been  mentioned 
already  in  the  public  school  music  section  of  this  thesis. 

The  North  Shore  Music  Festival  at  Evanston,  Illinois,  held 
a  children's  matinee  at  which  fourteen  hundred  school  children 
sang,  and  was  a  revelation  in  juvenile  singing  to  those  present. 
(537.) 

Another  important  phase  of  children  choruses  is  that  of  the 
church  choir.  The  Catholic  and  the  Episcopal  denominations 
both  make  excellent  use  of  boy  choirs,  as  well  as  some  of  the 
Protestant  churches. 

The  First  Congregational  Church  at  Chicago  keeps  one 
girls'  chorus,  ranging  in  ages  from  nine  to  fourteen,  another  of 
young  ladies  aged  fourteen  to  eighteen,  and  an  adult  choir.  In 
the  last  nine  years,  this  church  has  sung  forty  complete  choral 
works,  including  the  "Messiah,"  "The  Creation,"  "Hymn  of 
Praise,"  "The  Redemption"  and  "Elijah." 


221 

Each  choir  is  organized  with  officers,  reports  and  monthly 
dues.  Concerts,  festivals  and  outings  form  the  social  life.  (474. 
1909:93.) 

The  St.  Paul  Methodist  Church  of  Lincoln,  Nebraska,  has  an 
adult  chorus  which  gives  some  heavy  public  work  each  year, 
while  the  chorus  of  the  State  University  has  given  a  number  of 
works,  and  has  established  the  custom  of  singing  the  "Messiah" 
once  each  year. 

An  entirely  new  feature  is  to  be  given  in  June,  1915,  by  the 
Nebraska  State  University,  the  commercial  club  and  the  State 
Historical  Society,  typifying  the  founding  of  the  city.  It  is 
partly  symbolical,  partly  historical.  The  pageant  is  set  to  music 
and  makes  free  use  of  the  allegory:  The  scene  opens  -with  the 
appearance  of  the  Spirit  of  Progress,  accompanied  by  the  Spirit 
of  Adventure,  symbolizing  the  new  advance  on  the  westward 
course  of  empire  and  civilization.  The  Prairie  Sprites  follow,  as 
it  were,  springing  up  from  the  sod.  The  music  is  built  through- 
out upon  Indian  melodies,  most  of  them  taken  from  the  Nebraska 
Omaha  Indians.  The  poem,  music  and  acting  are  all  the 
product  of  the  university  faculty  and  students. 

There  is  every  reason  to  believe  that  the  number  of  school 
operettas  and  choruses  given  each  year  is  enormous,  especially 
is  this  true,  if  one  takes  into  account  our  large  city  centers, 
where  such  training  is  now  a  matter  of  course.  It  only  remains 
to  spread  the  movement  to  the  remoter  sections  of  the  country, 
after  "which  a  gradual  toning  up  of  standards,  and  better  prepara- 
tion and  equipment  on  the  part  of  teachers  may  be  expected. 


CHAPTER  III. 

Counting  various  state  associations,  conferences  of  supervisors, 
musical  section  of  the  National  Educa- 

MUSICAL  ORGANIZATIONS  tional  Association,  and  a  number  of 

others,  the  list  of  societies  organized 

for  the  serious  promotion  of  the  study  of  music  is  a  long  one. 
Their  work  is  creating  a  strong  sentiment  for  the  better,  yet  the 
lack  of  intelligent  cooperation  is  a  great  hindrance.  A  national 
periodical  for  such  a  purpose  would  facilitate  matters  very  much. 

The  following  organizations  have  been  noted  in  the  course 
of  a  wide  range  of  reading: 

California  State  Association  (including  seventeen  county  vice  presidents 
and  a  state  orchestra  committee,  local  branches  in  San  Francisco,  San  Diego, 
Sacramento,  Santa  Ariz,  Alameda  county  and  South  California),  Illinois, 
Iowa,  Michigan,  Minnesota,  Missouri,  New  York,  North  Carolina,  Ohio, 
and  Wisconsin  State  Associations,  American  Guild  of  Organists,  Eastern 


222 

Educational  Music  Conference,  National  Federation  of  Music  Clubs,  North- 
west Music  Teachers'  Association,  International  Music  Society  (United  States 
section)  (478.  1913:240),  Music  department  of  National  Educational  Associa- 
tion, Music  Teachers'  National  Association,  New  England  Educational  League, 
American  Society  for  Extension  of  University  Teaching,  and  the  American 
Vocalists'  League.  (477.  1912:9.) 

In  1902,  about  a  hundred  representatives  in  and  about 
Boston,  including  music  teachers  in  colleges,  conservatories, 
public  and  private  schools  and  friends  of  musical  education,  met 
to  consider  the  ad  visibility  of  music  as  a  school  subject.  This 
conference  extended  over  two  years.  (472.  1907:69.) 

Both  the  Music  Teachers'  National  Association  and  the 
National  Educational  Association  have  growing  sections  devoted 
to  the  problems  of  public  school  music.  (474.  1909:141.) 

The  National  Federation  of  Music  Clubs  includes  a  depart- 
ment of  education,  sacred  music  division  for  revising  church 
music,  scholarship  loan  fund,  American  music  department  offer- 
ing prizes  for  American  compositions,  public  school  music  depart- 
ment, student  section  extension  department,  librarian  for  loaning 
music  to  clubs  upon  publication,  and  publicity  department  which 
furnishes  monthly  reports  of  all  clubs.  (478.  1913:31.) 

The  public  school  music  department  of  this  same  club  just 
sent  out  a  return  postal,  asking  for  a  report  upon  the  following 
points,  which  a  federated  club  should  do  for  school  music: 

1.  "Appoint  a  live"  committee  on  school  music — this  com- 
mittee should  visit  the  schools,  investigate  conditions,  help 
to  crystallize  public  opinion  in  favor  of  good  school  music, 
through  club  papers  and  the  local  press.    Arrange  at  least 
one  club  program  of  school  music  given  by  the  children. 
Form  mothers'  clubs  to  study  song  material  for  children, 
under  direction  of  the  supervisor. 

2.  Give  concerts  in  grade  and  high  schools,  of  standard  com- 
positions. 

3.  Raise  funds  for  purchasing  player  pianos,  talking  machines, 
library  of  classic  standard  rolls  and  records. 

4.  Purchase  orchestral  instruments  and  help  organize  school 
orchestras. 

5.  Assist  the  schools  in  giving  community  concerts. 

6.  Work   through   state   and   local   associations   for  music 
credits  in  school  courses,  and  for  work  done  outside,  and 
for  standardization  of  music  teachers  and  supervisors." 

These  six  items  were  sent  out  last  fall  in  the  form  of  a  question- 
naire. (541.)  * 

State  certification  of  music  teachers  is  beginning  to  be  an 
issue.  Michigan,  New  York,  Missouri,  California,  Alabama  and 
Florida  have  felt  this  need  especially.  The  Florida  association 
appointed  a  committee  in  1910,  to  prepare  examination  for 
teachers  of  voice,  organ,  piano,  violin  and  theory.  They  also 
wished  the  introduction  of  music  in  the  schools. 


223 

The  Missouri  association  has  discussed  the  matter  for  some 
years.  A  committee  agreed  to  a  test  of  two  grades  of  difficulty, 
and  left  the  matter  again  to  a  committee. 

The  California  legislature  introduced  a  bill  in  1909,  which 
provided  that  every  music  teacher  must  have  a  license,  and  the 
board  of  examiners  was  to  be  seven  music  teachers.  A  penalty 
was  to  be  imposed  upon  those  teaching  without  a  license.  The 
bill  was  endorsed  by  the  Musicians '  Club  of  San  Francisco,  but 
it  failed  to  pass. 

The  Michigan  Music  Teachers'  Association  had  a  similar 
experience  in  1910.  For  three  years  this  state  made  attempts  to 
require  a  certificate  before  teaching.  (475.  1910:174.) 

Minnesota  made  an  attempt  to  issue  teaching  license  in  1912. 
Three  examining  members  to  each  subject  gave  examinations  in 
piano,  voice,  violin,  organ,  theory  and  harmony,  public  school 
music  being  included  under  voice.  All  candidates  took  examina- 
tion in  theory  and  history.  These  were  held  July  5,  1913,  at  the 
same  time  in  the  four  cities,  Minneapolis,  St.  Paul,  Duluth  and 
Winona,  each  under  the  supervision  of  one  of  the  examining 
board.  Some  difficulty  was  experienced  in  that  each  paper  was 
checked  up  by  these  examiners,  some  were  indifferent,  and  each 
had  his  own  private  marking  not  understood  by  the  others. 
57%  passed. 

New  York  state  association  tried  to  set  a  "minimum  stand- 
ard" five  years  ago.  So  much  objection  was  made  that  it  was 
changed  to  "essential  standard."  Four  classes  of  members  are 
included:  active,  associate,  founding  and  auxiliary.  Active 
membership  requires  ten  years  of  successful  teaching,  with  two 
years  to  be  added  to  this  requirement  each  year  for  at  least  six 
years.  Associate  members  must  have  attained  a  high  reputation 
as  a  teacher  of  music  without  regard  to  experience.  A  founding 
member  must  produce  credentials  from  some  musical  institution 
of  recognized  standing,  or  from  a  private  teacher  eligible  to  associate 
membership.  Auxiliary  members  must  pass  the  test  of  essential 
standards.  This  is  the  New  York  association  plan,  but  is  not 
unanimously  approved. 

Missouri  has  adopted  standards  and  is  giving  state  examina- 
tions in  piano  and  violin,  with  a  committee  working  on  organ 
and  voice.  Many  have  already  taken  the  examination.  The 
requirements  are  purposely  lenient,  hoping  to  bring  up  the 
standard  of  the  poor  teacher.  Piano  requires  fifth  grade  in 
performance,  and  third  grade  sight  reading,  with  knowledge  of 
elementary  harmony. 

Ohio  reorganized  completely  in  1913.  The  aim  is  to  set  up  a 
complete  machine  beginning  with  the  teacher  in  the  smallest 
town,  and  ending  with  the  Music  Teachers'  National  Association. 
Forty  counties  were  already  organized  in  1913.  A  committee 
worked  for  two  years  upon  the  problem. 


224 

Almost  all  Ohio  educational  institutions  have  conservatories 
attached.  Less  than  1%  of  the  music  students  finish,  over  60% 
become  teachers,  without  a  year's  schooling.  The  situation  of 
the  public  school  music  supervisor  is  equally  bad. 

As  these  illustrations  show,  standardization  is  attracting 
attention  from  many  parts  of  the  country.  The  points  of  doubt 
seem  to  be:  (1)  Shall  standardization  be  a  national  or  a  state 
affair?  (2)  Shall  registration  of  music  teachers  be  governed  by 
set  examination?  (3)  Shall  the  standard  be  "minimum"  or 
"essential?"  (478.  1913:219.) 


CHAPTER  IV. 

One  of  the  largest,  if  not  the  largest  field  for  all  forms  of 

municipal  and  settlement  teaching 

MUNICIPAL  AND  SETTLEMENT  exists  in  New  York  City.  At  55 

East  Third  street,  such  a  settle- 
ment was  established  in  1874.  Miss  Emily  Wagner  from  Balti- 
more came  to  the  city,  with  the  plan  of  giving  lessons  to  poor 
children  at  low  prices.  The  school  is  now  an  incorporated  organ- 
ization with  an  enrollment  of  eight  hundred.  They  are  taught 
piano,  violin  and  'cello,  sight  reading,  musical  theory,  ensemble 
playing  and  singing.  They  pay  twenty-five  cents  a  lesson,  and 
scholarships  are  given  to  those  too  poor  to  pay.  Success  has 
been  so  great  that  thousands  have  been  turned  away.  Other 
cities  are  taking  up  the  plan. 

On  Sunday,  May  21,  1911,  a  conference  was  held  in  New  York 
at  the  Music  School  Settlement  House,  for  the  purpose  of  dis- 
cussing this  new  social  phase.  Delegates  were  present  from  two 
music  settlements  in  Boston,  from  Albany,  Providence,  Phila- 
delphia, Brooklyn,  New  Rochelle,  Pittsfield,  Rochester,  and  from 
the  Armstrong  Society  for  colored  people  in  New  York  City. 
Music  was  provided  by  the  settlement  orchestra  of  one  hundred 
twenty  players.  At  the  close  of  the  session,  an  American  Federa- 
tion of  Music  School  Settlements  was  formed. 

A  negro  violinist  in  New  York  City  established  a  similar 
federation  for  negroes  about  the  same  time. 

Almost  every  afternoon,  children  may  be  seen  waiting  at  the 
New  York  settlement  house.  They  are  not  regular  pupils,  but 
are  waiting  to  take  the  place  of  some  regular  student  who  may 
fail  to  appear.  (536.  1911:233.) 

In  1908,  three  hundred  seventy-five  were  enrolled,  while 
thirty  thousand  lessons  taken  collectively,  were  given  by  a  faculty 
of  thirty-two.  The  course  of  study  included  stringed  instruments, 
piano,  harmony,  voice  and  ensemble.  To  this  was  to  be  added 


225 

organ,  wood  work,  history  of  education,  English  language, 
literature,  music  type  setting,  music  plate  engraving,  construction 
and  repair  of  musical  instruments,  and  piano  tuning. 

The  school  is  always  capacity  full  with  a  waiting  list.  One 
evening  every  week  is  devoted  to  a  public  concert.  The  students 
naturally  fall  into  two  classes:  (1)  Those  who  study  as  far  as 
circumstances  permit,  (2)  those  who  are  talented  and  take  up 
orchestral  work  (one  of  the  latter  class  was  admitted  to  the 
Damrosch  Orchestra  in  1908,  in  the  violin  section),  (3)  the  class 
who  have  the  talent  to  become  teachers. 

All  instruction  in  harmony,  ensemble,  musical  orchestration 
and  choral  practice  was  free  in  1908,  with  the  intention  of  pro- 
viding an  English  course  and  technical  instruction  also  free. 
The  school  library  of  books  and  music  is  likewise  free. 

In  July  and  August,  the  yard  provides  room  for  five  thousand 
six  hundred  children.  A  teacher  drills  them  in  organized  play. 
One  evening  each  week,  a  concert  is  given  during  the  summer, 
with  a  regular  rehearsal  of  the  junior  orchestra  on  Sunday. 
(536.  1908:427.) 

The  child  welfare  exhibit  in  New  York  City  in  1911,  was  one 
of  general  surprise.  One  evening,  a  chorus  of  one  thousand  sang, 
two  other  evenings  the  chorus  numbered  five  hundred,  while 
boys'  and  girls'  glee  clubs  were  heard  on  still  other  evenings. 
A  choir  of  thirty  Italian  boys  came  from  the  Mission  of  Our  Lady 
of  Loretto.  A  chorus  from  the  colored  orphanage  at  Riversdale 
on  the  Hudson  sang  also.  An  orchestra  of  one  hundred  thirty 
players  from  the  Music  School  Settlement  also  contributed, 
whose  playing  equalled  the  precision  of  artists.  Public  school 
number  21  sent  a  band  of  Italian  boys,  whose  instruction  had 
been  donated,  Brooklyn  Disciplinary  Training  School  sent  a 
band  of  thirty,  the  Hebrew  Orphan  Asylum  a  band  of  twenty- 
five.  The  Three  Arts  School  furnished  an  orchestra  of  fifty  well 
trained  players.  Morris  High  School  in  the  Bronx  sent  an 
orchestra  to  accompany  the  chorus.  Manhattan  from  the 
Russian  Jewish  quarter  sent  a  choir  of  singers,  and  an  orchestra 
made  up  of  pupils  and  graduates  in  which  were  sixteen  first 
violins,  seventeen  second,  one  viola,  two  'cellos  and  a  trombone. 
Lack  of  balance  was  provided  by  a  piano  part.  New  York 
Institute  for  instruction  of  the  deaf  and  mute  sent  a  military 
band. 

The  committee  learned  of  many  more  such  organizations. 
The  point  of  all  this  work  was  that  the  children  were  given  a 
start  from  which  the  really  talented  might  develop  into  musicians. 
(536.  1911:483.) 

The  summer  of  1914  made  the  fifth  year  of  music  for  the 
masses.  From  six  to  eight  thousand  attended  every  evening, 
and  matinees  on  Saturday  and  Sunday  at  the  Mall,  in  Central 
Park,  New  York  City.  Part  of  the  concerts  were  given  by  bands, 


226 

but  a  large  majority  were  given  by  the  orchestra  of  fifty  from 
the  Metropolitan  Opera  House,  all  masters  of  the  first  rank,  and 
heard  in  programs  of  the  finest  classics.  Four  years  before,  most 
of  the  same  people  had  never  heard  a  symphony  concert.  This 
was  an  experiment  at  first,  and  proved  that  love  for  the  best 
music  is  not  an  educative  process.  The  people  were  as  attentive 
the  first  year  as  the  fifth.  Most  of  the  audience  were  "East 
siders."  Twelve  to  fifteen  such  concerts  a  day  are  given  all  over 
the  city  during  the  summer  months,  but  none  of  such  high 
grade  as  those  of  the  orchestra  in  Central  Park.  There  is  not 
any  possible  doubt  but  that  these  concerts  give  the  greatest 
conceivable  satisfaction.  The  great  works  seem  to  exalt  them 
and  bring  them  into  more  harmonious  relationship  to  life  after 
the  day  of  heavy  toil.  This  was  learned  by  the  supervisor  of 
these  municipal  concerts  in  personal  conversation.  The  relaxa- 
tion and  receptivity  seem  greatest  during  these  concert  evenings, 
amid  the  ideal  surroundings  of  the  park.  The  aim  is  that  the 
message  and  necessity  of  good  music  shall  reach  the  very  heart 
of  the  people.  It  is  not  the  purpose  that  public  schools  should 
compete  with  this  spontaneous  psychic  element,  but  it  should  be 
included  in  the  system. 

The  school  board  of  New  York  City  has  begun  winter 
orchestral  concerts  in  some  of  the  school  halls  free  to  the  public, 
and  with  great  success.  This  seems  the  rational  process  of  getting 
at  the  96%  now  without  the  pale  of  the  musical  world.  The 
way  to  give  good  music  to  the  people  is  to  give  it  to  them  not  as 
a  substitute,  but  as  one  of  the  means  of  musical  salvation  and 
as  an  education  for  the  nation. 

Of  all  the  municipal  concerts  given  in  New  York  City,  this 
symphony  orchestra  in  Central  Park  alone  gives  complete  satis- 
faction. It  is  the  only  orchestra;  other  concerts  are  given  by 
bands  much  less  proficient  and  offering  programs  of  ordinary 
standard.  The  result  is  less  attention,  more  confusion  and 
distinct  unrest.  Seemingly,  it  is  to  stringed  instruments,  and 
not  to  wind  that  we  must  look  for  real  modern  progress.  The 
latter  does  not  compare  favorably  with  the  orchestra,  in  bringing 
out  the  finer  instincts  and  the  sublimer  emotions.  At  any  rate, 
the  New  York  municipal  concerts  have  revealed  this  subtle 
distinction. 

Concerts  are  given  on  eight  recreation  piers  or  river  fronts. 
In  1910,  New  York  City  spent  one  hundred  thousand  dollars  in 
this  way. 

In  1912  and  1913,  folk  dancing  for  children  on  the  piers  was 
an  important  event.  Small  bands  of  ten  players  are  provided 
for  these  occasions.  (478.  1913:16.) 

Still  another  feature  of  municipal  work  in  music  is  the  fact 
that  a  practice  has  been  instituted  of  giving  free  organ  concerts. 
The  old  Presbyterian  church  at  5th  Avenue  and  llth  Street 
gave  a  series  of  such  programs  in  1912. 


227: 

Some  of  the  large  stores  particularly  in  New  York  City, 
Philadelphia,  Boston  and  such  centers,  have  a  custom  of  giving 
free  noonday  recitals  often  in  recital  rooms  for  the  purpose. 

The  New  York  World  gave  ten  thousand  dollars  for  the  pur- 
pose of  offering  the  best  music  in  the  public  schools  and  educa- 
tional institutions  of  New  York  City.  One  of  this  series  was 
given  in  the  assembly  hall  of  the  College  of  the  City  of  New 
York.  Nearly  three  thousand  listened  to  Beethoven's  "Lenore 
Overture,"  Mendelssohn's  "  Scotch  Poem,"  and  Goldmark's 
"Sakuntata  Overture,"  admirably  played  by  a  symphony  or- 
chestra. 

This  same  college  has  interested  itself  very  actively  in  the 
problem.  Since  1908,  it  has  been  offering  free  organ  recitals  on 
Wednesday  and  Friday  afternoons  during  the  winter.  (536. 
1912:764.) 

A  New  York  musical  institution  was  given  a  gift  of  five 
hundred  thousarM  dollars  recently,  for  the  purpose  of  offering 
the  best  instruction  in  the  world  to  New  York  musical  students. 
Such  scholarship  funds  are  becoming  more  frequent  in  many 
large  cities. 

Mention  should  be  made  of  several  large  choral  organizations 
in  New  York  City,  which  present  great  works  long  before  they 
are  heard  elsewhere.  (536.  1908:63.) 

The  above  activities  have  been  cited  for  the  purpose  of 
emphasizing  the  fact,  that  both  the  status  of  music  and  public 
sentiment  are  undergoing  a  very  rapid  change  at  the  present 
time.  Never  before  has  the  cultural  value  of  music  been  so  keenly 
appreciated,  nor  has  the  realization  of  its  possibilities  as  an 
educative  factor  in  developing  character,  dominated  the  minds 
of  educators  as  at  the  present  time.  The  craze  for  municipal 
music  has  swept  like  wild  fire  all  over  the  country,  and  has 
permeated  even  to  the  remotest  towns  in  the  Rocky  Mountain 
states.  The  situation  is  not  so  much  one  of  contagion,  as  of  a 
condition  ripe  for  sudden  change  and  adjustment. 

The  key  to  the  whole  municipal  and  settlement  idea,  appears 
to  be  a  conviction  that  true  art  must  find  its  life  in  the  hearts 
of  the  people,  and  that  only  by  speaking  to  the  masses  (to  the 
man  in  the  street,  as  well  as  the  man  in  the  palace)  can  any  art 
lend  aid  in  shaping  the  lives 'of  the  nation.  Such  a  form  of 
education,  once  established,  can  never  be  stamped  put  by  any 
effort  of  church  or  state,  no  matter  how  great,  for  it  is  the  spon- 
taneous expression  of  the  natural  emotional  life. 

While  it  is  not  possible  to  touch  upon  all  the  manifestations 
of  such  activity  in  the  larger  cities,  a  middle  west  town,  Chicago, 
may  rightly  claim  some  attention. 

The  Hull  House  Music  Settlement  of  Chicago  is  the  oldest 
of  the  kind,  while  that  of  New  York  is  the  richest.  The  former 
teaches  piano,  violin,  sometimes  organ,  orchestral  and  choral 


228 

work  and  singing.  The  fees  are  usually  about  one-tenth  of  the 
normal.  All  the  Hull  House  children  have  note  reading,  ear 
training,  writing,  vocal  development,  song  interpretation  and 
piano.  (508.  1912:1014.) 

"Pop"  concerts  were  tried  as  an  experiment  in  1910.  In  a 
series  of  programs  by  such  artists  as  Tetrazzini,  Fremstadt, 
MacCormack,  and  others,  music  was  presented  of  such  a  character 
as  to  attract  the  masses  with  surprising  results.  The  effect  was 
to  develop  an  audience  of  listeners  who  had  never  attended 
musical  performances  before.  (537.  1910:360.) 

Chicago  introduced  a  series  of  concerts  in  parks  and  play- 
grounds during  the  summer  of  1909,  which  were  called  "musical 
evenings."  All  programs  were  first  class  and  introduced  even 
chamber  music,  the  most  severe  form  of  all.  Children  attended 
very  freely.  The  result  proved  that  no  concessions  to  popular 
taste  are  necessary.  One  evening  was  devoted  to  choral  singing, 
unaccompanied,  to  show  the  development  of  plain  song  from  the 
twelfth  century  through  the  early  polyphony  of  the  sixteenth 
century  to  the  modern  era  of  harmony.  This  undertaking  was 
the  creation  of  the  Woman's  Trade  Union  League  of  Chicago. 
(536.1909:327.) 

Cincinnati  has  made  systematic  attempts  to  provide  musical 
programs  for  social  settlements  begun  in  1904.  Prior  to  that 
time,  the  possibilities  which  lay  buried  beneath  the  surface  of 
the  "common  people,"  mostly  immigrants,  was  little  appreciated 
or  suspected.  The  keen  interest  in  music  was  a  surprise.  There 
was  no  necessity  to  cater  to  low  musical  taste,  for  cheap  music 
got  no  applause.  "Carmen"  was  given  one  evening,  and  snatches 
from  the  opera  could  be  heard  in  the  lower  sections  after  the 
program.  The  concerts  have  been  given  for  ten  years  now. 

The  Union  Bethel  of  Cincinnati  gives  one  program  each  year 
to  the  settlement,  and  maintains  a  music  school  in  connection, 
with  an  enrollment  of  sixty  pupils.  Piano,  violin  and  mandolin 
are  taught. 

A  chorus  has  existed  among  the  older  girls  of  the  settlement 
for  ten  years.  It  gives  a  concert  each  year,  and  acts  as  choir  in 
many  of  the  church  services.  A  group  of  little  girls  eight  to 
fourteen  years  of  age  give  a  cantata  each  year.  Two  more 
choruses  are  to  be  started. 

Wealthy  Cincinnati  residents  offer  free  band  concerts  during 
the  summer.  The  symphony  orchestra  gives  five  programs 
during  the  summer  at  twenty-five  cents.  Sunday  concerts  are 
given  in  the  winter  at  the  same  price,  the  seats  being  sold  for  an 
entire  year  in  advance. 

In  many  of  the  younger  immigrants,  a  desire  has  been  created 
for  a  study  of  music.  (479.  1913:25.) 

Since  1908,  the  Minneapolis  Symphony  Orchestra  of  seventy- 
eight  players  gives  especially  arranged  concerts  to  the  children 


229 

for  ten  cents.  The  same  practice  is  carried  out  during  concert 
tours  to  other  cities.  (507.  1911:790.) 

Passing  to  the  far  west,  we  find  Seattle  offering  evening 
classes  in  sight  reading  and  chorus  training,  with  concerts  mixed 
in  with  the  teaching.  The  Amphion  Club  gave  a  program  with 
first  ranking  soloists,  and  the  Bonner  orchestra  of  thirty-five  men 
gave  an  evening  complimentary  to  high  school  students.  (509. 
1913:602.) 

A  striking  proof  of  the  feeling  of  the  necessity  of  orchestral 
music  is  shown  by  the  fact  that  in  spite  of  yearly  deficits  of 
fifteen  to  eighty  thousand  dollars  in  the  larger  cities  of  the  east, 
orchestras  continue  to  increase  in  number,  in  size  and  in  expense 
of  artists  and  performers.  (534.  1908:91.) 

The  Metropolitan  Opera  House  in  New  York  City  never 
hopes  to  defray  its  expenses.  To  make  it  do  so,  would  be  to 
defeat  its  own  cause,  since  the  luxury  of  opera  could  be  enjoyed 
only  by  the  favored  few. 


CHAPTER  V. 

SUBCHAPTER  I. 

RESEARCH. 

The  past  few  years  have  been  characterized  by  unusual 

activity  in  psychological  lab- 

PSYCHOLOGICAL  IN  UNIVERSITIES  oratories,  in  the  phases  of 

music  which  lend  themselves 
most  readily  to  scientific  study  and  research  work. 

The  Iowa  State  University  possibly  deserves  first  mention  for 
research  done  under  the  guidance  of  Prof.  Seashore,  head  of  the 
department  of  psychology.  The  attempts  have  been  directed 
along  the  problem  of  the  singing  voice. 

The  experiments  were  performed  by  means  of  the  tonescope, 
which  works  on  the  principle  of  moving  pictures,  and  enables  the 
person  or  observer  to  measure  the  pitch  of  any  tone  by  direct 
inspection  wrhile  singing,  speaking  or  playing  under  normal  con- 
ditions. There  is  a  contrivance,  by  means  of  which  the  vibrations 
of  the  voice  mechanically  raise  or  lower  a  flame  for  each  sound 
wave.  A  screen  rotates  at  the  rate  of  one  revolution  a  second, 
and  carries  a  row  of  dots.  When  a  tone  is  sounded,  the  row  of 
dots  corresponding  to  the  vibration  frequency  of  the  tone  will 
stand  still  and  be  clear,  while  the  other  dots  move  and  tend  to 
blur.  Each  row  runs  under  a  number  on  the  scale.  So  the  row 
which  stands  still  points  to  a  number  which  designates  the  pitch 


230 

of  the  tone.  To  see  the  pitch,  one  has  only  to  read  the  number 
of  the  line  that  stands  still. 

The  tonescope  is  the  work  of  many.  Dr.  E.  W.  Scripture 
designed  the  first  laboratory  experiment  using  this  principle  in 
psychology.  Dr.  C.  E.  Lorenz  is  the  person  to  whom  we  owe 
the  synchronous  motor,  and  plan  of  using  the  selenium  cell  with 
the  siren.  Mr.  E.  W.  Beckly  and  Prof.  E.  A.  Jenner  made  the 
first  tests  in  determining  the  value  of  the  tonescope  in  the 
musical  conservatory.  It  remained  for  Prof.  Seashore  to  install 
and  perfect  its  use  in  a  practical  way  in  the  psychological  labor- 
atory. Dr.  Walter  R.  Miles,  a  pupil  of  Prof.  Seashore,  has 
standardized  procedure  for  various  problems  in  the  measurement 
of  singers  with  this  instrument.  (529.) 

An  early  attempt  by  means  of  the  tonescope  was  made  in 
1905,  by  Prof.  Seashore  and  Prof.  E.  A.  Jenner.  The  problem 
was  (1)  can  we  facilitate  the  development  of  control  in  pitch  of 
the  voice,  by  using  an  aid  to  the  ear  in  training?  (2)  May  the 
ordinary  limits  of  accuracy  be  exceeded  by  training  with  such 
an  ear  aid?  In  attacking  these  questions,  three  lines  were  fol- 
lowed: (1)  Accuracy  in  reproducing  a  given  tone,  (2)  accuracy 
in  singing  a  given  interval,  (3)  the  least  producible  change  in  the 
pitch  of  the  voice. 

The  tests  lasted  twelve  days,  each  practice  period  consisting 
of  one  hundred  sixty  trials  which  took  forty-five  minutes.  For 
the  first  five  days,  the  singer  depended  upon  his  ear  in  the  usual 
way.  This  was  followed  by  a  period  of  five  days  in  which  the 
singer  was  told  of  the  results  at  once.  Six  men  acted  as  observers. 

(1)  Aid  helped  the  ability  to  strike  a  note  that  had  been 
heard,  which  amounted  to  42%  over  the  unaided  attempt. 

(2)  Aid  helped  accuracy  in  singing  an  interval.    This  aid  amounted 
to  50%  for  major  thirds,  50%  for  a  fifth,  60%  for  an  octave. 

(3)  Voluntary  control  of  pitch  of  voice  improved  by  control. 
The  average  superiority  of  aided  senses  over  unaided  amounted 
to  26%.    (4)  There  is  probably  some  gain  from  the  aided  training 
following  the  unaided  singing.    There  was  no  evidence  of  transfer 
of  gain  in  accuracy  of  memory  image.    (6)  Gain  in  discriminative 
control  of  pitch  if  voice  is  fully  transferred.    (7)  Improvement  in 
the  ability  to  sing  intervals  and  ability  to  produce  minimal 
change   very  much   more   pronounced   in   aided   than   unaided 
series.     (8)  The  second  question  was  not  absolutely  answered, 
but  it  seems  probable  from  the  radical  improvement,  and  from 
introspection  showing  an  unaided  to  seem  entirely  satisfactory 
to  the  ear,  which  could  be  corrected  by  aid,  that  a  higher  degree 
of  accuracy  of  pitch  in  singing  may  be  attained,  by  aiding  the  ear 
in  training,  than  could  be  possible  to  attain  without  aid.     No 
matter  how  keen  the  ear  of  a  trained  musician,  a  single  test 
shows  his  ear  to  be  "too  generous,"  too  easily  satisfied,  for,  when 
the  error  is  pointed  out  objectively,  he  recognizes  it. 


231 

We  thus  find  evidence  that  the  singer  cannot  reach  the 
physiological  limit  of  accuracy  by  ordinary  methods  of  voice 
culture,  since  he  has  no  objective  criterion,  by  which  he  can 
check  up  the  accuracy  of  his  ear.  (5336.) 

The  three  doctors'  theses  already  spoken  of,  were  the  con- 
clusions of  research  work  by  the  aid  of  the  tonescope,  another 
being  in  process  of  completion  upon  the  study  of  intervals,  and 
is  also  for  the  doctor's  degree. 

The  above  thesis  led  to  a  similar  experiment  in  Minnesota  in 
1909,  both  spring  and  fall,  first  with  a  group  of  a  hundred  stud- 
ents, then  with  one  hundred  seventy-six,  mostly  sophomores. 
Three  tests  were  given ;  one  with  a  tuning  fork  for  discrimination 
of  different  pitches,  one  by  the  aid.  of  a  sound  pendulum  to 
determine  differences  of  intensity,  and  one  by  the  use  of  the 
sonometer. 

The  experiments  proved  that  those  who  had  had  more  train- 
ing showed  better  ability.  Almost  without  exception,  the  keener 
discrimination  came  from  those  who  had  been  given  vocal  drill 
in  the  grades,  with  private  lessons  of  some  sort.  Those  with  poor 
discrimination  had  studied  very  little.  An  interesting  feature 
was  that  so  many  enjoyed  music  through  its  rhythm. 

Six  of  those  who  had  the  poorest  pitch  discrimination  were 
trained  for  a  half  hour  five  days  a  week  for  two  weeks,  with  no 
practice  between  tests.  Everyone  of  those  so  trained  reached  a 
discrimination  which  was  better  than  the  average  of  the  two 
hundred  seventy-six  tested.  Seashore  concluded  that  training 
was  practically  of  no  value  at  so  late  an  age.  The  Minnesota 
conclusion  was  that  it  amounts  primarily  to  a  training  of  atten- 
tion, in  selecting  the  one  factor  of  pitch  and  holding  that  in  the 
focus.  (318.) 

Bingham  has  carried  on  a  somewhat  related  investigation, 
"  Studies  in  Melody,"  in  which  he  works  out  a  motor  theory. 
(531.) 

Prof.  Max  Meyer,  in  the  University  of  Missouri,  worked  along 
these  similar  lines:  I.  The  aesthetic  effect  of  final  tones.  II.  The 
intonation  of  musical  intervals.  III.  Quarter  tone  music. 

From  I,  he  concluded  that  a  melody  ends  upon  a  fundamental 
tone,  because  it  is  lower  than  overtones,  and  thus  a  falling  in- 
flection, as  in  the  voice,  and  a  consequent  feeling  of  rest.  (525. 
1903:192.) 

In  the  laboratory  of  Cornell  University,  a  study  was  made 
of  methods  of  distracting  the  attention.  First  by  musical  sound, 
and,  secondly,  the  effect  of  pitch  upon  attention. 

The  conclusions  were  that,  in  general,  music  facilitates  rather 
than  inhibits  attention.  If  there  is  any  fixed  attention,  it  seems 
probable  that  the  middle  octaves  have  the  greater  effect  upon 
the  attention. 

As  a  side  experiment,  the  subject  was  tested  by  his  discrimina- 


232 

tion  of  lifted  weight,  using  the  method  of  right  and  wrong  judg- 
ment. Although  not  proving  anything,  the  experiment  hinted 
at  the  presence  of  a  dynamogenic  law,  and  also  indicated  that  a 
distraction  which  acts  as  a  facilitation,  if  given  with  the  first  of 
two  stimuli,  partly  counteracts  the  tendency  to  underestimate. 
The  counteraction  is  especially  marked  in  the  very  musical  person. 
There  seems  to  be  no  essential  relation  between  pitch  and  dyna- 
mogenic effect.  (523.  1897-98:332.) 

About  the  same  time,  an  experiment  upon  musical  enjoyment 
was  performed  in  the  laboratory  of  the  University  of  Chicago. 
The  subjects  used  included  one  professional  and  twenty-one 
amateur  musicians. 

The  conclusions  were  that  music  has  a  somewhat  definite 
emotional  content,  which  seems  to  be  furnished  entirely  by  the 
moral  association  or  temperament  of  the  person.  A"  great  differ- 
ence exists  in  the  capacity  of  the  individual  to  receive  definite 
impressions,  and  of  composers  to  convey  them.  To  overcome  a 
strong  individual  mood,  requires  music  of  extremely  strong  ex- 
pressiveness. The  dominant  tone  is  usually  caught  and  held,  to 
the  conclusion  of  the  subordinate  emotions.  (523.  1897-98:63.) 

The  same  study  was  made  in  Clark  University  in  1912.  The 
aim  was  to  get  a  detailed  and  accurate  description  of  the  mental 
processes  involved.  This  study  is  closely  related  to  the  problem 
of  aesthetics. 

The  conclusions  under  two  heads  were  as  follows:  A.  Psych- 
ological: Listening  to  music  is  accompanied  by  disturbance  in 
distribution  of  blood  supply,  possibly  directed  to  attention,  and 
not  the  product  of  emotional  variation.  Heart  beat  tends  to 
increase,  whether  attention  is  voluntary  or  not,  and  whether 
music  is  fast  or  slow.  The  respiration  is  irregular,  and  varies 
with  the  intensity  of  the  emotion  of  the  observer.  Muscular 
reactions,  including  movement  to  rhythm  and  those  also  of 
strain  and  relaxation,  are  of  great  importance  in  the  appreciation 
of  music. 

B.  Introspective:  Pleasurable  emotions,  due  to  timbres  of 
instruments  and  nuances  of  tone's.  Pleasurable  reaction  to  rhythm. 
Pleasurable  associations  which  are  the  product,  in  the  main,  of 
past  experiences  more  or  less  familiar.  Pleasure  derived  from  the 
play  of  imagery.  An  intellectual  activity,  consisting  of  an 
analysis  of  the  melodic  and  harmonic  structure. 

Others  who  have  experiemented  along  this  line  are  Oilman, 
Ferrari  and  Lahy,  Fere  and  Tarchanoff.  The  latter  asserts  that 
gay  music  neutralizes  the  effects  of  muscular  fatigue.  Scripture 
got  the  same  results  as  Tarchanoff.  Patrizi  found  no  such  effect. 
Mentz  found  a  slower  pulse  with  perfect  consonances,  with 
increase  of  heart  rate  in  concentration.  Binet  and  Courtier  found 
an  increase  in  heart  beat  and  respiration.  This  was  greatest  in 
dissonant  chords.  Ferrari  found  vaso-motor  changes  in  ab- 


233 

normal  and  pathological  subjects  of  an  idiotic  or  insane  tempera- 
ment. Weld  refers  this  to  an  assumed  absence  of  cortical  control. 
Foster  and  Gamble  found  the  effect  of  music  upon  respiration  to 
be  the  same  as  that  in  general  mental  application,  with  this 
difference,  that  the  breathing  was  irregular  in  the  presence  of 
music.  Shephard  found  that  a  rapid  pulse  resulted  from  agree- 
able and  exciting  music. 

Introspections  reveal  that  "  music  consciousness "  is  made  up 
of  a  mass  of  kinaesthetie  and  organic  sensations,  motor,  vocal 
motor,  auditory  and  visual  imagery,  numerous  associations,  many 
of  which  are  irrelevant,  effective  and  emotional  processes,  and 
previous  phenomena  which  have  to  do  with  intellectual  enjoy- 
ment. 

There  is  no  room  for  doubt  that  movement,  real  or  imaginal, 
in  the  body  of  observer,  determines  the  direction  and  character 
of  visual  imagery.  Other  mimetic  movements  are  a  tendency  to 
sing,  hum  or  whistle.  (526.  1912:245.) 

A  psycho-physical  test  upon  school  children  reported  from 
Leland  Stanford,  shows  that  sensitiveness  to  pitch  increases  up 
to  ten  years,  and  then  becomes  a  constant.  This  points  to  the 
conclusion  that  systematic  ear  training  should  begin  before  that 
age.  Hearing  and  helping  in  good  music  is  one  of  the  best  means 
of  ear  training.  (81.) 

The  Western  Reserve  University  has  contributed  an  article 
upon  music  imagery,  in  which  the  conclusions  were  drawn  that 
the  power  of  music  to  call  up  imagery  rests  upon  direct  association. 
(530.  1898:463.) 

Harvard  has  contributed  a  long  article  upon  the  structure  of 
simple  rhythm  forms.  (532.  V.  1:309.) 

Binet  and  Courtier  give  an  account  of  a  means  of  applying 
the  graphic  method  to  study  the  action  of  the  fingers  in  piano 
playing.  A  Marey  tambour  is  connected  with  the  keys  of  a 
piano,  in  such  a  way  as  to  record  the  intensity,  duration  and 
form  of  the  pressure  exerted  in  striking  them.  This  affords  an 
excellent  way  of  studying  the  finer  shades  of  expression  in  music, 
and  of  discovering  the  errors  which  are  made  in  rendering  a 
selection.  (522.  1895:576.) 

Tolstoy  mentions  the  existence  of  an  apparatus,  by  means  of 
which  a  very  sensitive  arrow  in  dependence  on  the  tension  of  a 
muscle  of  the  arm,  will  indicate  the  physiological  action  of  music 
on  the  nerves  and  muscles.  (515.) 

The  psychology  of  piano  instruction  was  gone  into,  to  some 
extent,  in  the  Cornell  laboratory.  Learning  to  play  the  piano, 
like  all  learning  processes,  involves  the  acquisition  of  certain 
associations,  which,  with  repetition,  become  habitual.  The  point 
in  the  investigation  was  whether  various  piano  methods  take 
account  of  these  associations  in  the  learning  process,  or  whether 
any  allowance  is  made  for  individual  differences  of  mental  com- 


236 

some  extent  mechanical  automatic  speech.  By  this,  Oppenheim 
explained  the  preservation  of  the  musical  capacity.  He  also 
concluded  that  the  musical  quality  may  be  located  in  a  distinct 
area  of  the  left  hemisphere.  He  recalled  a  case  where  memory 
images  were  destroyed  by  disease  in  the  right  hemisphere,  with 
disturbance  of  speech.  (518.  1888-89:175.)  ^ 

Prof.  Kast  observed  motor  musical  aphasia  in  a  singer  as  a 
result  of  a  neck  wound.  Also  another  in  a  violinist  and  singer. 
The  musical  faculty  was  preserved  in  both  cases,  and  both 
recognized  their  failures  in  musical  execution.  The  second 
subject  lost  both  vocal  and  instrumental  music,  though  mental 
part  remained.  His  speech  returned  better  than  his  musical 
powers,  and  the  whistling  and  singing  came  back  better  than 
violin.  (518.  1888-89:347.) 

Beaumis  observed  a  case  in  which  the  sensibility  of  the  mem- 
brane of  vocal  cords  was  destroyed  by  cocaine,  without  altering 
the  accuracy  of  song.  He  therefore  concluded  that  muscle  sense 
plays  its  role  in  giving  accuracy  to  notes.  (517.  1887-88:205.) 

The  purpose  of  introducing,  at  this  point,  a  somewhat  ex- 
haustive presentation  of  the  subject  as  treated  in  the  psychological 
laboratory,  is  to  bring  out  definitely  and  clearly,  the  fact  that 
(so  it  seems)  scientific  research  work  is  the  fundamental  cause 
for  the  rapid  change  in  attitude  and  educational  status  of  music 
in  the  last  decade.  Heretofore,  science  accepted  the  statement 
of  musicians,  that  music  was  (1)  a  matter  of  practice,  (2)  that  it 
belonged  to  the  realm  of  pure  genius,  and  in  this  sense,  to  be  set 
aside  from  investigation  and  study,  as  an  anomaly  or  unusual 
growth  not  subject  to  natural  research. 

At  the  same  time,  the  larger  movement  in  purely  educational 
lines  has  expanded  itself,  until  it  is  touching  all  phases  of  thought 
connected  with  mental  growth  in  every  field.  As  a  logical  result, 
many  of  the  methods  used  in  musical  culture,  besides  being 
opposed  to  the  laws  of  nature  and  growth,  and  hence  positively 
vicious,  have  occasioned  the  demand  for  a  method  based  upon 
sound  pedagogical  and  rational  principles. 

The  contact  of  scholastic  and  musical  study  upon  the  public 
school  curriculum  has  resulted  in  this  investigation  and  inquiry. 
A  survey  of  the  preceding  pages  will  lead  to  the  conviction  that 
psychology,  with  its  closely  allied  field  education,  must  be  the 
fundamental  sciences  to  shape  the  method  and  study  of  this 
important  phase. 

Only  a  superficial  study  shows  the  art  to  be  of  so  complex  a 
nature,  that  only  by  laboratory  methods,  characterized  by  careful 
investigation,  can  we  hope  to  acquire  the  benefit  and  profit 
which  such  a  training  promises. 

Laboratory  study  has  revealed  also,  in  the  study  of  abnormal 
and  unusual  cases,  that  study  along  musical  intelligence  explains 
phenomena  not  well  understood. 


237 

My  own  investigation  in  this  state,  concerning  the  real  extent 
of  private  study,  together  with  several  studies  of  like  nature,, 
show  a  universal  tendency  and  necessity  for  such  development, 
which  can  be  nothing  but  fundamental.  There  is  little  doubt, 
it  appears,  that  we  are  on  the  eve  of  working  out  truths  and 
educational  principles  along  this  line,  which  will  not  only  reverse 
the  attitude  entirely,  but  completely  revolutionize  the  manner 
of  teaching  and  the  nature  and  preparation  of  the  teaching  body. 

The  strong  tendency  to  procure  highly  prepared  specialists, 
combined  with  the  higher  salaries  when  such  can  be  secured, 
point  to  the  possibility  of  the  profession,  as  assuming  an  import- 
ant place  upon  the  college  curriculum.  ' 

Owing  to  its  peculiar  power  to  hold  and  retain  the  interest 
and  attention  of  youthful  minds,  added  to  its  triple  aspect  as  an 
art,  a  language  and  a  science,  its  possibilities,  when  treated  in  a 
community  sense  and  as  a  means  of  binding  children  together  in 
large  social  units,  has  not  yet  approached  the  threshold  of  real- 
izing its  ideal  application. 

If  such  a  state  ever  materializes,  we  must  study  scientifically 
the  fundamental  principles  underlying  the  craving  for  the  popular 
music,  as  well  as  that  of  the  cheaper  vaudeville  or  picture  show, 
i.  e.,  what  is  the  dominant  note  which  attracts?  The  point  is 
an  important  one,  since  the  cases  cited  in  the  municipal  section 
of  this  thesis  show  that  the  same  class  of  individuals  lend  their 
appreciation  even  more  readily  to  the  highest  and  loftiest  types 
of  composition  and  artists'  productions. 

There  seems  to  be  but  one  conclusion,  that,  in  the  absence  of 
the  more  elevating  and  ennobling  phases  of  the  art,  the  baser 
and  cheaper  forms  are  sought,  since  the  instinct  is  one  which 
demands  satisfaction. 

The  peculiar  power  of  musical  presentation  upon  the  emotional 
faculties,  makes  this  art  in  its  uncared  for  stage  extremely  open 
to  grave  dangers,  especially  in  the  younger  and  more  succeptible 
minds. 

The  present  study  has  shown  this  class  to  be  larger  than  has 
been  realized,  even  by  those  who  have  given  some  consideration 
to  the  problem. 

As  the  study  exists  now,  without  the  sponsorship  of  any 
especially  recognized  field  of  education,  added  to  its  power  not 
paralleled  in  any  other  field,  it  has  clustered  about  itself,  many 
of  the  most  vicious  evils  of  our  day  in  the  educational  and 
pedagogical  lines  of  thought. 

It  is  then,  owing  to  its  extreme  complexity,  to  its  quality  as 
touching  upon  several  educational  fields,  and  to  the  high  degree 
of  specialization  required  before  scientific  study  is  made  even 
possible  along  these  lines,  that  we  must  assign  to  the  laboratory, 
and  predominantly  that  of  psychology,  the  task  of  evolving  in 
the  coming  generation,  if  not  a  completely  satisfactory  type  of 


238 

art  education  in  our  system  of  school  life,  at  least,  a  realization 
of  one  which  may  in  all  dignity,  .take  the  place  of  our  present 
conditions.  It  must  be  one  which  recognizes  correct  scientific 
knowledge  of  the  mind,  of  physical  growth  and  its  possibilies, 
and  of  the  nervous  system,  whether  applied  to  the  teaching  or 
the  learning  process. 


SUB-CHAPTER  2. 
STATUS  OF  PRIVATE   LESSONS   IN  UNITED   STATES. 

In  answer  to  my  questionnaire,  the  following  states  replied 
definitely  that  credit  was  being  given  for  private  lessons  outside 
of  school. 

North  Atlantic  Division  North  Central  Division 

Vermont  Indiana  (undecided  yet) 

Rhode  Island  Minnesota 

Missouri 
South  Atlantic  Division  South  Dakota 

West  Virginia  Nebraska 

Kentucky  Kansas  / 

South  Central  Division  Western  Division 

Texas  Washington 

Oklahoma  Oregon 

California 

Fourteen  give  credit,  Indiana  has  the  matter  before  the 
board,  Connecticut,  Delaware,  Tennessee,  Louisiana,  New 
Mexico  and  Nevada  answered  no.  The  answers  from  Florida, 
Ohio,  Montana,  Wyoming  and  Idaho  showed  that  the  super- 
intendents either  did  not  know  or  did  not  think  so.  Since  replies 
did  not  come  from  some  of  the  older  and  well  developed  Eastern 
states,  it  is  very  safe  to  infer  that  more  states  are  giving  outside 
credit  than  those  mentioned. 

In  regard  to  whether  the  credit  was  equal  to  that  of  other 
studies,  eight  gave  definite  answers  as  follows:  South  Dakota 
gives  credit  equal  to  laboratory  or  one-half  the  regular  recitation, 
Missouri  to  the  extent  of  one  high  school  unit,  Nebraska  does  not 
give  equal  credit,  Kansas  does  if  compared  with  equal  or  similar 
subjects,  Washington  does.  Oregon  does  if  the  practice  equals 
eighty  minutes  a  day.  The  majority  made  no  attempt  to  answer 
this  question,  probably  feeling  uncertain  about  the  exact  status 
of  the  subject. 

The  appended  clipping  was  cut  from  a  recent  Lincoln  daily 
and  is  worthy  of  direct  quotation:  "State  Superintendent  of 
Schools  C.  P.  Gary  has  established  the  policy  of  giving  Wisconsin 
high  school  pupils  credit  for  work  in  music,  done  under  private 
instruction  by  certified  teachers. 


239 

"  'We  have  learned  that  it  is  wise  to  encourage  musical 
training/  said  Mr.  Gary.  'While  the  schools  have  musical  exer- 
cises and  musical  instruction,  it  is  impossible  for  them  to  give 
such  a  high  order  of  training  as  many  wise  parents  want  their 
children  to  receive.  Where  parents  are  inclined  to  provide 
private  instruction,  it  seems  only  reasonable  that  the  children 
should  be  credited  with  it  so  that  the  burden  of  their  studies 
may  not  become  too  great.  Accordingly,  such  pupils  are  allowed 
to  substitute  music  study  for  work  that  would  otherwise  have 
to  be  done  in  school.  Sometimes  girls  find  higher  mathematics 
very  burdensome.  It  is  difficult  to  say  that  algebra  and  geometry 
are  needed  by  them  more  than  excellent  instruction  in  music.'  " 
(538.) 

The  report  of  the  school  committee  of  Boston,  1913,  contained 
this  clause:  " Pupils  should  have  instrumental  practice  outside 
in  institutions  and  with  private  teachers,  with  periodic  tests  on 
same."  (6.  1913:44.) 

In  the  report  of  the  "Present  Status  of  Music  in  New  England, 
New  York  and  New  Jersey,"  six  towns  were  allowed  credit  for 
private  study  in  music,  of  which  three  were  in  Massachusetts. 
The  locations  of  the  other  three  were  not  given.  (476.  1911 :217.) 

As  early  as  1906,  out  of  an  enrollment  of  eleven  hundred  in 
the  Hartford  high  school,  seven  hundred  .children  took  private 
lessons.  (471.  1906:76.) 

The  following  statistics  were  taken  from  a  report  of  private 
study,  done  by  children  in  the  grades  and  high  schools  of  Hart- 
ford, Connecticut,  1913.  Out  of  13,679  enrolled,  4,133  studied 
privately,  thus  nearly  one- third  of  the  school  population.  With 
one  lesson  a  week  at  a  cost  of  fifty  cents,  $82,660  would  be  the 
annual  expense.  It  was  found  that  the  cost  per  lesson  was  fifty 
cents  to  five  dollars.  The  grammar  schools  showed  25%  study- 
ing, the  high  schools  had  57%  doing  private  work,  a  gradual 
increase  in  number  as  the  grades  go  up.  The  girls  had  a  per- 
centage of  33,  the  boys  21.  There  were  1,271  boys  studying. 
Out  of  the  4,133  studying  privately,  3,173  were  piano  students, 
571  studied  violin  and  were  mostly  boys.  The  mandolin  was  a 
favorite  instrument  in  the  grammar  grades,  the  cornet  following 
second.  Other  popular  instruments  were  the  church  organ, 
viola,  'cello,  bass  viol,  flute,  clarinet,  fife,  French  horn,  trombone, 
harp,  banjo,  guitar,  zither  and  xylophone.  The  high  school 
showed  the  mandolin  and  guitar  also  leading,  and  about  the 
same  other  instruments. 

Two  hundred  ninety- two  piano  teachers  were  employed, 
forty-five  violin  teachers,  ten  cornet  teachers,  eight  of  banjo  and 
mandolin,  three  of  flute  and  thirty-two  in  voice  culture.  Eighty- 
five  boys  in  the  grammar  schools  were  taking  voice  culture, 
possibly  on  account  of  the  number  in  boy  choirs.  The  total 
number  of  voice  students  in  the  grades  and  high  schools  was 
one  hundred  seventy-two. 


240 


BY  NATIONALITY 

Foreign  born  parentage  12%  to  18%,  three  upper  grades  40%. 

Hebrew  locality  20%,  upper  grades  56%. 

Wealthy  section  60%  and  73%. 

The  above  deductions  were  made  by  Mr.  Baldwin  himself  in 
compiling  his  report,  and  have  been  recorded  just  as  he  tabulated 
them.  The  next  pages  give  the  figures  from  which  he  drew  his 
conclusions : 

GRAMMAR  SCHOOLS 

(Total  enrollment  12,132,  girls  6,060,  boys  6,072) 


Girls 

Boys 

Total 

%  Girls 

%  Boys 

Total  % 

Piano  
Violin  
Other  instruments  .  . 
Voice  

1,790 
104 
39 
49 

694 
359 
133 

85 

2,484 
463 
172 
134 

29 
2 
6 

7 

11 
6 
2 
1.4 

20 
4 
1.5 

1 

Total  

1,982 

1,271 

3,253 

44 

21 

27 

HIGH  SCHOOLS 


Total 

Other 

Total 

%  of 

enroll- 

Piano 

Violin 

instru- 

Voice 

music 

music 

ment 

ments 

students 

students 

Post-graduates  . 

7 

2 

3 

5 

71 

Seniors 

241 

121 

9 

11 

6 

147 

61 

Juniors  

284 

133 

27 

12 

7 

179 

63 

Third  class  

418 

206 

27 

6 

6 

245 

59 

Fourth  class  

597 

227 

45 

16 

17 

305 

51 

Total.... 

1,547 

689 

108 

45 

39 

881 

57 

SUMMARY  OF  GRAMMAR  AND  HIGH  SCHOOL  RECORDS 


I 

GrammarSchools 

12,132 

2,484 

463 

172 

133 

3,252 

27 

High  Schools  .  .  . 

1,547 

689 

108 

45 

39 

881 

57 

Total  

13,679 

3,173 

571 

217 

172 

4,133 

30 

241 


GRAMMAR  SCHOOLS  BY  GRADES 


Total 
enroll- 
ment 

Piano 

Violin 

Other 

instru- 
ments 

Voice 

Total 
music 
students 

% 
music 
students 

I.  . 
II.  . 
III.  . 

IV.  . 
V.  . 
VI. 
VII.  . 
VIII. 

1,770 
1,828 
1,467 
1,506 
1,375 
1,233 
1,182 
876 

33 

111 
160 
273 
319 
377 
432 
390 

1 

18 
23 
56 
62 
62 
98 
72 

1 
1 
8 
13 
23 
30 
29 
35 

I 

16 
28 
15 
24 
28 

35 

131 
193 
358 
432 
484 
583 
525 

2 
7 
13 
20 
31 
39 
49 
60 

IX  

895 

389 

71 

.32 

19 

511 

57 

Total  

12,132 

2,484 

463 

172 

133 

3,252 

27 

GRAMMAR  SCHOOLS  BY  DISTRICTS 


Total 
enroll- 
ment 

Piano 

Violin 

Other 

Instru- 
ments 

Voice 

Total 
music 
students 

% 
music 
students 

%in 
upper 
grades 

South  .  . 
West  Mid  
Northwest  
Arsenal  
Northeast  
Wash.  St  
Southwest  
Brown  
HenryBarnard  . 

3,676 
935 
931 
1,399 
1,042 
1,050 
214 
1,435 
1,450 

682 
357 
292 
292 
213 
310 
51 
122 
165 

173 

30 
28 
73 
36 
41 
6 
27 
49 

57 
22 

13 
19 
11 
16 
1 
14 
19 

18 
36 
11 
13 
8 
6 
5 
11 
25 

930 
445 
344 
397 
268 
373 
63 
174 
258 

25 

48 
37 
28 
26 
36 
29 
12 
18 

49 
73 
66 
56 
46 
65 
71 
40 
40 

Total  

12,132 

2,484 

463 

172 

133 

3,252 

27 

56 

(478.     1913:179.) 

The  following  census  was  taken  in  Salt  Lake  City,  to  ascertain 
the  number  of  children  studying  privately:  The  circular  was 
sent  to  twenty-six  schools,  eighteen  answering.  Eight  thousand 
five  hundred  sixty-seven  pupils  were  represented  in  the  eighteen 
schools.  Of  this  number,  two  thousand  four  hundred  eight  or 
28.1%  were  studying  some  instrument,  distributed  as  follows: 

Boys  Girls 

Piano 1,612  (chiefly  in  5th  and  6th  grades) .  .474  1,138 

Cornet 32                                                           28  4 

Violin 486                                                           337  149 

Clarinet 13                                                           13  0 

'Cello 7                                                         .5  2 

Trombone ....         5  50 

Guitar 33 

Mandolin 121 

Harp 5 

The  highest  wave  was  in  the  fifth  and  sixth  grades.     The 


242 

percentage  of  those  studying  privately  would  have  been  raised 
considerably  with  a  full  report  of  all  schools.  (478.  1913:179.) 

In  Oak  Park,  Illinois,  last  year  40%  of  the  grade  children 
took  private  lessons.  About  25%  of  the  high  school  students 
were  studying.  8%  of  the  total  number  enrolled  thus,  were 
receiving  credit  equal  to  that  of  any  other  subject  upon  the 
curriculum.  (478.  1914:154.) 

The  results  of  a  questionnaire  sent  out  by  the  Washington 
state  board  of  education  have  just  been  received.  It  is  so  com- 
plete in  form  that  it  will  be  included  in  the  thesis  just  as  sent. 
(4086.) 

The  board  is  planning  to  allow  high  schools  to  credit  private 
instruction  in  music,  with  reports  of  work,  and  an  examination 
at  the  end  of  the  semester.  It  is  planned  also,  to  require  the 
study  of  musical  theory  along  with  study  of  applied  music. 

The  superintendent  further  adds,  "we  are  thinking  some  of 
outlining  a  fine  arts  high  school  course,  similar  to  industrial  arts 
course  on  the  present  outline,  except  that  music  or  fine  arts 
(drawing,  painting,  etc.)  would  be  substituted  for  the  industrial 
subject  in  each  year. 

The  tabulated  results  of  the  questionnaire  follow: 

QUESTIONNAIRES  ON  CREDIT  FOR  PRIVATE  INSTRUCTION  IN  MUSIC. 

Number  of  questionnaires  sent  out,  180. 

Number  of  high  schools  questionnaires  were  sent  to,  133. 

Number  of  replies  received,  73. 

Question  1 .  Do  you  favor  giving  high  school  credit  for  private  instruction 
in  music?  Yes,  54;  no,  11;  qualified,  6. 

Question  2.  If  so,  what  forms  of  musical  study  should  be  recognized? 
Vocal?  Yes,  58.  No,  1.  Qualified,  1.  Piano?  Yes,  57.  No,  1.  Orchestral 
instruments?  Yes,  48.  No,  5. 

Question  3.  Have  you  had  any  experience  with  any  plan  of  giving  high 
school  credit  for  private  instruction  in  music?  Yes,  17.  No,  48. 

The  plans  used  chiefly  seemed  to  be  those  where  a  definite  amount 

of  work  was  required,  with  a  suitable  statement  of  same,  and  sometimes 

the  approval  of  the  work  by  school  authorities  was  required.     Twelve 

reported  their  plans  as  satisfactory,  two  gave  qualified  reports. 

Question  !+•  At  what  stage  of  study  should  the  work  be  accredited;  that 
is,  should  those  just  beginning  to  study  voice,  piano,  or  an  instrument  receive 
credit,  or  only  those  advanced  in  the  study?  Number  favoring  former,  21. 
Number  favoring  latter,  16.  Doubtful,  2.  The  most  of  those  experienced 
with  crediting  private  instruction  seemed  to  favor  the  latter. 

Question  5.  Is  there  any  demand  in  your  school  for  credit  for  private 
instruction  in  music?  Yes,  33.  No,  27.  "Slight,"  2.  "No,  but  would  be,"  4. 

Question  6.  How  many  pupils  in  your  high  school  are  taking  private 
music  lessons?  49  replies  reported  a  total  of  760.  How  many  are  taking 
music  courses  in  high  school?  37  replies  reported  a  total  of  3,222. 

Question  7.  What  courses  in  music  are  you  offering  regularly  in  high 
school,  and  what  is  the  amount  of  time  required  for  each  course?  Seven 
replied  that  they  had  no  courses.  Fifty  replied  that  they  had  some  courses. 
The  courses  and  amount  of  time  varied  widely,  no  two  schools  handling  music 
courses  alike.  The  majority  offered  chorus  work  once,  twice,  or  three  times 


243 

% 

L  week  In  some  there  were  boys'  glee  clubs,  girls'  glee  clubs,  orchestra,  and 
vocal  courses.  In  a  few  there  were  courses  in  theoretical  music,  appreciation, 
theory  history  and  elementary  harmony. 

Question  8.     How  many  private  music  teachers  instructing  your  high 

school  pup^  are  non-reside^0(teNobnJn2154  S°me'  35'    The  tOtal  ""^ 
PrlVQ^estoonC9  ^Do^you  have  a  regular  music  teacher  in  the  high  school? 
14  regular  high  school  music  teachers  were  reported.    Or  do  you  have  a  super- 
vise? w£o  divides  her  time  with  the  grades  or  with  other  lines  of  work?    39 


What  are  the  qualifications  of  your  music  teacher  or  super- 
visor Is  she  a  high  school  graduate?  43  were  so  classified  What  literary 
or  academk "training  has  she  had  above  the  high  school?  .  34  reported  some 
advanced  literary  work,  which  varied  from  a  few  months  in  a  higher  institu- 
tion to  a  fuU  bachelor's  course  in  a  college  or  university.  State  the  musical 
tracing  she  has  had.  34  were  reported  as  having  musical  training.  For  8 
there  was  no  report  The  preparation  reported  covered  a  wide  range,  from 
a  school  of  music  conducted  by  publishing  houses,  to 

!  be  li-ited  to 

Yes*  37      No,  21.     Two,  10.     It  is  probable  that  some  reported 


it:      ies,  of.     i>u»  «A?     AWV,  j.v.     ** -~  i-*'  -----     *      u     i 

with  more  particular  reference  to  credits  earned  putside  of  school 
!~QuMonlZ.  In  case  credit  for  outside  study  is  given,  what  should  be 
the  nWber  and  length  of  the  music  lessons  and  the  amount  of  practice  required 
for  STunit  of  credit?  While  the  answers  to  this  were  various,  there  was  a 
omewhat  sim  lar  standard  expressed.  Many  used  the  phrases:  "Equal  to 
thTt  of  anv  ither  subject,"  or  "equal  to  a  regular  laboratory  stJbject  "  Judg- 
ing from  the  answers  a  reasonable  requirement  for  one  unit  of  credit  would 
be  a  course  of  36  weeks  in  length  with  two  half-hour  lessons  a  week  and  6 
hours  of  Dractice  a  week.  This  would  total  420  minutes. 

The  remainSg  questions  related  to  plans  for  putting  into  effect  proposals 
fnr  rrprUt  for  Drivate  instruction  in  music. 

Plan  I      The  music  teachers  of  a  city  or  town  are  approved,  and  the 
credits  which  they  recommend  to  be  given  their  pupils  are  allowed 

Plan  II      The  work  of  the  pupil  is  credited  after  examination ^before 

a  qualified  committee.    In  each  case,  statements  would  have  to  be  filed 

as  to  the  scope  of  work,  amount  of  practice,  etc.  T    ^ 

Question  13.    Which  of  these  plans  do  you  think  is  better?    Plan  I,  35. 

Plan  II,  29.     "A  combination,"  2. 

QUESTIONS  ABOUT  PLAN  I. 

board,  2.    County  superintendent  or  state  department,  4.    County  board,  I 

QulstionVlT'  Would  a  system  of  local  approval  of  music  teachers  prove 
No   30.    Qualified,  8.  . , 

,ere'anv  likelihood  of  arousing  ***£***$* 


'•  Option'  «QU  Do'you  have  qualified,  disinterested  persons  who  could 
determine  whether  or  not  the  local  teachers  were  qualified?    Yes,  22.    I 

QUaQues(io«  19.    Woul3  it  be  advisable  to  allow  any  private  organization  to 


j 

pass  judgment  on  the  qualifications  of  music  teachers  for  these  purposes? 
Yes,  6.     No,  43.     "Advisory,"  1. 

Question  20.  Would  it  be  advisable  to  certificate  through  the  state  board  ! 
of  education,  or  otherwise,  music  teachers  who  desire  their  work  to  be  accred-  ; 
ited?  Yes,  49.  No,  4.  Qualified,  2. 

QUESTIONS  ABOUT  PLAN  II. 

Question  21.  Who  should  make  up  the  committee  to  examine  pupils? 
Few  of  the  answers  were  the  same  as  to  the  complete  committee.  Most  of 
the  replies  included  the  supervisor  of  music  and  a  local  musician.  Some 
included  the  principal,  superintendent,  and  additional  musicians. 

Question  22.  How  should  the  members  be  chosen?  By  local  authorities, 
superintendent,  principal  or  board,  or  combination  of  superintendent  and 
board,  22.  State  superintendent,  3.  County  superintendent,  2.  Musical  art 
society,  1. 

Question  23.  Would  the  system  of  choosing  which  you  propose  be  reason- 
ably certain  of  providing  competent  persons  for  the  work?  Yes,  28.  No,  2. 
''Fairly,"  1. 

Question  24.  Are  there  plenty  of  local  musicians,  fully  qualified  and  im- 
partial, who  may  be  secured  for  the  work?  Yes,  22.  No,  16. 

.  Question  25.     Could  this  committee  serve  to  examine  pupils  in  the  several 
lines  of  instrumental  study?     Yes,  23.     No,  10.     Doubtful,  1. 

Question  26.  If  not,  what  would  you  do  for  examinations  in  those  lines 
in  which  the  examining  committee  were  not  proficient?  There  were  few 
answers.  More  favored  securing  competent  persons  outside  the  committee 
than  any  other  plan. 

Question  27.  Would  it  be  advisable  for  the  music  supervisor  to  serve  on 
this  committee?  Yes,  28.  No,  4.  Qualified,  1.  Those  who  favored  having 
the  supervisor  serve  reported  that  the  supervisor  would  be  most  competent 
and  that  the  school  should  have  some  representative  in  the  awarding  of  credits. 
Concerning  the  plan  of  having  applied  music  taught  in  the  school,  the  com- 
ments were  interesting. 

Question  29.  What  is  your  opinion  of  this  plan?  Good,  34.  Too  ex- 
pensive, 10.  Impractical,  9. 

Question  30.  Do  you  think  it  may  prove  feasible  in  the  course  of  time? 
Yes,  31.  No,  1.  "Possibly,"  11. 

Question  31 .  Would  it  offer  a  final  solution  of  the  problem  of  instruction 
in  music  for  high  school  pupils?  Yes,  27.  No,  12.  Qualified,  8.  (4086.) 

This  tabulation  is  without  doubt  one  of  the  most  interesting 
received  from  any  section  of  the  country.  However,  it  has  the 
usual  difficulty  of  research  gained  through  questionnaire.  Ap- 
proximately only  half  of  the  high  schools  responded. 

The  last  questions  concerning  the  possibility  of  applied 
music  upon  the  public  school  curriculum,  have  brought  answers 
which  show  that  school  boards  and  colleges  are  not  keeping  pace 
with  shifting  conditions  and  the  general  public  sentiment.  There 
seems  little  doubt  but  that  the  general  masses  are  more  ready 
for  the  innovation  than  school  authorities,  who  fear  to  take  so 
radical  a  step.  However,  the  present  study  has  shown  that 
attempted  school  supervision  could  not  be  worse  than  present 
conditions,  even  though  apparently  not  so  successful  at  first  trial. 

This  entire  thesis  study  has  been  built  upon  the  idea  that 
musical  instruction  should  be  treated  as  a  study  upon  the  curri- 
culum and  without  any  distinction  as  to  educational  value. 
Close  study  has  convinced  the  author  that  such  a  course  is  not 
only  possible  but  highly  advisable. 


bfl 

.s 

73 

1 

H 

tO  CO  05  rH  rj<  00  O  rH         CO  CO  t-  CO  "*  OO 
rH  rH  CO  rH                             rH 

1 

i-T 

3 

02 

5  - 

02 

T! 
3 

COOO                                                                                  LO 

-^  rH  COOOO  t-OOrH          IO  CO  O  rH  CO  CO 
rH  rH                                        rH 

CO 

§8 

§ 

02 
I 

PQ 

rH          COCO^IOCO                  rH          CO          rHCO 

t- 

rH 
CO 

~o  i 

fa.! 

3  ^ 

T}<  rH  T^  tO  t~  t-  "^  CO         CO  CO  IO  rH  IO  t- 

OS 

eo 

£ 

! 

3 

^OCO  t-»OOOirH         COOOIO         COCO 

,_!           ,_!  rvj                                            ^H                   T—  I 

CO 
rH 

1 
1 

00 

03 

O 

PQ 

rH  O  CO  CO  CO  CO  Tt*  O         COOO         OlO 
rH 

02                      /-^ 

rH 

CO 

a 

i 

02 

T! 
3 

rHCOrHCOrH            CtfrH          rH 

rH 

o3             J 

CJ                   H 

1      Si 

s 

b- 

02 

O 

PQ 

_                                              o 

00 

§      g 

3        tf 

OJ 

0 

J2 

3 

Cr^*  CO  O>  T^  rH  CO  CO  ^O  ""^  OO  OS  OS  rC3  ^O  "^ 
r-T,—  1  CO  CO  CO            C                  rH    C«          rH 

OS 
CO 
rH 

5-f—  I 

O                  Q 

'O         r»        <1 

CO 

1 

co  coococooorH      oocoOcot> 

rH  rH                                        rH  ^ 

10 
10 

ogg 

01 

J/2 

3 

CO  Tj<  t-  OS  Tl<  O  OO  T^  O  OO  ^  OO         00  ^J< 
rH                        rH  CO                                                          rH 

O 
CO 
rH 

_fH         t-H        H-  1 
^•3         1-3        ?H 

a          Q 

i 

02 
O 

PQ 

COOCOOOSCO  rHOO^OO         ^"<# 
rH 

CO 

«     g 

0>                  GO 

1 

1 

3 

COCOrHrHCOOOCOOCOCOlOCOU^CO 
rH  rHCO  CO  rH                              rH 

CO 

rH 

G            W 
PQ 

Vj                >^ 

X 

03 
I 

PQ 

tOOlOlOlOf-COOCOCOO  Os'rH  CO  CO 
rH 

O 

CO 

1           & 

&          * 

i 

3 

CO                                      rH 

CO 
OS 

-g 

"d 

CO 

i 

PQ 

OrHCOCOCOt-COOOrHOOOCOrHCO 

o 

1 

0) 

3 

CO^COOOCOCOOSOOOOOO^rH^ 

CO 

co 

0 

S 

i 

OOCOCOCOCOCOOrHrHO>OrHrHrH 

CO 

i 

I 

'6 

OOOrHCO^COOOrHOrHOCOrH 
rH          rH 

OS 
CO 

1 

2 

i: 

PQ 

rH 

rH 

1 

ll  Sill  111^1  11  11 

3 

o 

PH 

2 


J> 

r?         O 

o   § 


CO 


PQ 


•S-^ 


- 


PQ 


- 


lOCOOOOOOOOOCOrHOCOCO<M<X>OOO 
i-<  r-t  W  CO  i-l  i—  1         rH         i-l  rH 


OOrHOOlNOO        OOrH        OO 


O  O  CO  O  i-H  rH  r-l 


O          OOrH          OO 

'In 


OOrHrHCOCOrHrH'-ii-IOrH^OrHO 

o          5 


0 


OOOrHOiOOOOOOCO       (M  (M 


OOOO(MCOOOOrHOOrHrH(M 


OrHrHOCO<MrHOOrHOrH 


OOOfMOOrHOOrHOOOOO 


OOOOOOrH 


i  a 

B  2 

i 


O 


o 


rHO»-lOOOOO        O(Mi-H        (MO 


OOOOOOOO        0«DO        00 


OOOOOOOO 


OOT-H  T-HO^-IOO  OOOO        Oi-l 


|i 

o 


OOfNi-HOOOOOrHOOOOO 


0000^ 


OOOOCOOOOOOOOOOrH 


miii  ii^ 


C     CQ 
O    K 

O  M 


O  w 
o 


n 

t 

!1 

—  i 

- 

IB 

» 

O5 

Oi 

00 

0 

o 

t- 

o 

z 

- 

•" 

« 

*| 

3 

3 

- 

0 

I 

0 

- 

- 

o 

0 

0 

o 

a 

Cl 

- 

- 

0 

« 

H 

i 

PQ 

0 

- 

* 

CO 

00 

X 

00 

o 

o 

t- 

0 

- 

o 

0 

" 

M 

1 

•E 

O 

o 

o 

1  accordion 
1  zither 

o 

0 

a 

1 

- 

? 

0 

0 

0 

r- 

N 

- 

1  cornet 

0 

(0 

X 

1 

o 

0 

1  cornet 
1  clarinet 
1  accordion 

1 

1  cornet 
1  bass  horn 
1  mandolin 

• 

i 

11 
§1 

« 

c 

• 

0 

§ 

CJ 

0 

o 

s 

1 

3 

o 

o 

0 

1 

o 

o 

- 

0 

0 

o 

0 

0 

0 

0 

o 

0 

- 

t- 

I 

o 

o 

•$•§• 

3  cornets 
1  guitar 

2  cornets 
2  horns 
1  zither 

3  cornets 

0 

0 

0 

2  cornets 
1  mandolin 

0 

Sr 

o 

o 

j 

2 

1 

0 

o 

0 

0 

0 

0 

o 

0 

0 

0 

o 

<£> 

<£> 

o 

o 

0 

i 

CO 

1 

o 

1  clarinet 

0 

fi 

2  cornets 
1  clarinet 
1  'cello 

j 

1  cornet 
2  clarinets 
2  trombones 

0 

o 

0 

0 

g 

0 

o 

0 

u- 

i 

5 

1  cornet 

o 

1 

o 

ll 

o 

0 

0 

0 

0 

0 

0 

0 

a 

0 

n 

S 

03 

i 

0 

0 

1  cornet 

0 

2  horns 
1  c'.arinet 

1  cornet 

1 

o 

o 

O) 
3 
13 

o 

§ 

- 

o 

1  cornet 

0 

| 

T 

3 

o 

0 

1  mandolin 

0 

0 

o 

0 

0 

o 

0 

* 

0 

0 

0 

o 

- 

f 

DO 

0 

0 

-2     t, 

ill 

0 

0 

1  cornet 

o 

0 

o 

ij 

we 

04 

0 

o 

0 

o 

o 

t- 

j 

r. 

T: 
3 

0 

o 

0 

o 

o 

0 

0 

•• 

0 

o 

0 

o 

£4 

0 

0 

H 

S 

I 

0 

o 

c 

1 

0 

Js 

0 

0 

o 

o 

1 

0 

6 

M 

0 

o 

o 

L- 

| 

1 

3 

0 

o 

0 

0 

0 

0 

o 

0 

0 

o 

o 

° 

0 

0 

0 

0 

s 

I 

0 

0 

0 

o 

0 

0 

0 

0 

0 

0 

0 

= 

0 

o 

o 

0 

i 

3 

o 

o 

0 

o 

o  • 

0 

- 

0 

.= 

~ 

0 

• 

0 

I 

0 

0 

S 

1 

o 

0 

• 

0 

o 

o 

0 

o 

0 

0 

0 

0 

» 

0 

o 

0 

Bancroft  .  . 

,- 

i 

1 

0 

Clinton  .  .  . 

ti 

3 

a 

Everett.  .  . 

Hayward  . 

Longfellow 

McKinley. 

1 

j 

Randolph 

Saratoga  . 

Whittier.  . 

1 

1 

3 

CO  rH  OO 
O  OO  Tj< 

CO 

oo 

10  - 

rH 
UO 
rH 

1 

09 

J2 

3 

00  CO  CO          rH 
OO 

CO 

i 

PQ 

rH  rH  rH          t~ 

CO  rH 

(M 

10 

| 

05 

3 

rH 

rH 

0 
CO 
rH 

00 

i 

PQ 

rH  t-  CO          ^      1            OO 

CO                         rH      (            ^O 

1 

i 

3 

CO  CO  O5          rH 
10  rH 
rH 

t- 

rH 

t^ 

03 

O 

PQ 

00  OO  CO          O5 
•^  rH                 rH 

00 
00 

(_ 
05 

% 

3 

05  CO  CO. 
rH 

o 

10 
00 
rH 

pfl 
-t-j 
CO 

PQ 

.U3CN 

IO 

05 

i 

X 

(-4 

O 

O  CO  -^ 
COrH 
rH 

CO 

0 
rH 

10 

1 

PQ 

(M  t-rH 

o 

rH 

0 

oo 

1 

3 

<MrH 

rH 

O5 
CO 
rH 

03 
O 

PQ 

ot-o 

t- 

3 

|U 
0} 

1 

3 

3 

CO  10  CO 
05 

0 

rH 
0 
rH 

0 

CO 

03 

1 

OCOO         t- 

I 

<M 

VI 

3 

^^^        0 

0 

i 

PQ 

•«*  CO  O 

o 

(M 

05 
0> 
>> 

J2 

3 

050  0 

CO 

0 

05 
CO 

en 

I 

rH 

CO 

i.fr-g'JS 

03 
0> 

i! 

250 

Total  piano  in  grades 1,203 

Total  piano  in  high  school 102      1,305 

Total  violin  in  grades 181 

Total  violin  in  high  school 15         196 

Total  voice  in  grades 48 

Total  voice  in  high  school 20          68 

Total  orchestral  instruments  in  grades 83 

Total  orchestral  instruments  in  high  school ...        5          88 

Grand  total  studying 1,657 

Approximate  cost  at  75  cents  a  lesson: 

One  lesson  weekly $1,242.75 

Cost  per  month 4,971 

Cost  per  nine  months 44,739 

This  estimate  is  probably  lower  than  is  actually  true,  since 
many  were  out  when  the  questionnaire  was  taken  up,  on  account 
of  measles.  In  addition,  a  number  take  two  lessons  a  week, 
some  pay  a  dollar  or  perhaps  more  at  a  conservatory,  while  still 
other  children  study  the  entire  year,  instead  of  only  during  the 
nine  months  of  school.  A  number  of  children  were  expecting  to 
begin  in  the  near  future,  but  were  not  included  in  the  list. 

It  will  be  noticed  that  one  hundred  ninety-six  study  violin, 
with  eighty-eight  orchestral  instruments,  a  total  of  two  hundred 
eighty-four,  and  sufficient  to  form  two  very  large  orchestras. 
The  instruments  which  may  be  legitimately  listed  for  the  orchestra 
are  distributed  as  follows: 

Flutes 2  Bugle 1 

Horns 9  Snare  drums 3 

Cornets 28  Violins 196 

Clarinets 7  'Cello 1 

Trombones 3  Instruments  not  named . .    14 

Those  not  available  for  orchestra: 

Guitars 4  Accordions 4 

Mandolins 4  Guitar  zithers 3 

With  a  city  grade  school  enrollment  of  7,395  pupils,  and 
1,657  studying  privately,  practically  22%  are  burdened  with 
this  outside  work,  including  the  high  school  (1,241  enrollment) 
19  +  %.  Of  this  entire  number,  only  twenty- two  pupils  receive 
credit  for  their  study  in  high  school.  These  students  carry 
prescribed  courses  in  theory  in  order  to  secure  the  same.  Credit 
has  not  been  attempted  in  the  grades  where  the  largest  number 
study. 

The  following  characteristics  are  noticeable  in  the  distribution 
of  musical  study  among  Lincoln  school  children.  The  highest 
point  for  boys  in  piano  is  approximately  the  fourth  grade,  for 
girls  the  sixth.  Boys'  curve  increases  slowly,  girls'  curve  a  very 
even  ratio  of  thirty,  much  faster  than  boys.  The  latter  decline 
in  piano  study  much  faster  than  girls.  The  instrument  loses 


251 


favor  with  boys  as  soon  as  adolescence  approaches,  since  it  is 
often  regarded  as  a  girls'  sphere  in  musical  study.  This  difference 
was  shown  in  taking  up  the  questionnaire  in  the  grades. 

Boys  favor  the  violin  more  than  girls,  and  with  both  sexes, 
the  numbers  studying  remains  more  constant.  Approximately 
three  times  as  many  grade  girls  study  piano  as  boys,  nine  times 
as  many  in  the  high  school,  and  twice  as  many  boys  take  up 
violin.  More  than  twice  as  many  girls  study  voice. 

In  the  orchestral  department,  boys  are  found  to  take  up  wind 
instruments,  and  predominantly  so  when  piano  interest  wanes, 
about  fifth  grade.  The  robust,  vigorous  tones  and  physical 
exercise  demanded  seem  to  suit  th:s  developing  age.  Bands 
and  band  practice  are  peculiarly  interesting  to  the  boy  in  these 
grades.  The  same  preference  is  strikingly  shown  in  the  statistics 
for  the  state,  which  follow  this  study  of  the  Lincoln  schools. 

It  will  be  noted  that  the  violin,  which  requires  more  subtle 
emotion,  and  the  use  of  the  finer  muscles,  does  not  find  great 
favor  with  the  boy  in  the  grades.  Possibly  this  is  owing  both 
to  his  natural  awkwardness,  and  a  demand  for  more  violent 
expression  of  his  feelings,  hence  a  liking  for  the  band  instruments. 
Of  these,  the  cornet  is  by  far  the  most  popular,  probably  because 
it  is  easy  to  learn,  and  gives  the  beginner  more  rapid  results, 
even  without  a  teacher.  With  the  same  encouragement  for  the 
study  of  wind  instruments  as  is  given  to  piano  or  violin,  the 
number  would  doubtless  increase  very  rapidly. 

The  following  tabulation  was  made  from  the  statistics  of  the 
four  towns  just  given,  and  in  widely  separated  parts  of  the  United 
States.  A  comparison  reveals  some  very  interesting  points,  as 
well  as  striking  similarities. 


Enroll- 
ment 

Music  pupils 

Per  cent 
studying 

t 

Approximate 
cost  at  75  cts 
per  lesson 
once  a  week 
for  9  months 

Grades 

High 
School 

1.  Hartford,  Conn  1913 
2.  Lincoln,  Nebr  1914 
3.  SaltLakeCity,Utah.    ? 
4.  Oak  Park,  111  1913 

13,679 
8,636 

8,567 
...... 

4,133  (33%) 
1,657  (19%) 
2,408  (28%) 

25% 
22% 

40% 

57% 
12% 

25% 

$111,591 
44,739 
65,016 

Sex  distribution 

Boys      Girls        Piano  Violin 

1.  1,271      2,862       3,173  571  (mostly  boys) 

2.  522         993        1,657  (includes H.S.)  181  (mostly  boys) 

3.  862      1,293        1,612  486 


252 

HIGH  WAVE  OF  STUDY  BY  GRADES 

Piano          Violin  Voice  Other  instruments  All  instruments 

1.  VII  VII      IV-IX  constant       V-IX  constant  VI 

2.  IV  boys-VI  girls    .    .   (No  striking  points)  VII 
3 V-VI 

This  comparison  shows  the  following  tendencies:  Piano 
study  as  the  earliest  form  with  approximately  twice  the  number 
of  girl  students.  Violin  has  the  reverse  ratio,  two  to  one  in  the 
boys'  favor.  They  predominate  still  more  in  orchestral  instru- 
ments, especially  wind;  girls  preferring  mandolins,  guitars,  etc. 
Hartford  and  Salt  Lake  City  show  the  mandolin  and  guitar  as  a 
favorite,  cornet  ranking  third  in  the  latter  city;  Lincoln  grade 
children  tend  to  cornet  study  as  lead,  and  followed  by  other  brass 
instruments,  the  more  trivial,  as  the  guitar,  finding  less  favor. 
Salt  Lake  City  lists  216  students  of  orchestral  instruments,  of 
these  121  are  mandolins,  33  guitars,  over  two-thirds  of  the 
entire  number.  Of  the  83  such  students  in  Lincoln,  one-third 
are  cornet.  So  far  as  the  statistics  reveal,  Lincoln  shows  the 
more  serious  study  in  the  orchestral  field,  and  more  hopeful 
prospect  of  future  child  orchestras.  The  enormous  cost  of 
private  study  is  well  brought  out  in  all  these  statistics. 


o 
o 

s 

|5 

i 

^ 

bJD 

0  __ 

11 

CSt-T-l^.ct!lMC5COC"C<I?O       Ni-HONC^OOC" 
r-ieOCO       -rf  (M        iH             M        •<*       W  rH        ^H  CO 

2 

TJ 

1 

• 

3 

O  O  1OCO  CO  ^H  TH  O         iH  O         W  CO  rH  rH         WOO 

j 

5 

•fl) 

j3 
•^ 

1 

00 

>J 

0 

aq 

00-HOCOOOO         00    >>0000          rHr-^0 

£9 

g 

o 
o 

03 

J 

:5 

OCOWlXlOONrHIM-S^-IO^i-HTJ.©^           50COO 

^    1 

3             c« 

£ 
? 

o 

§ 

o 

S 

>i 

0 

M 

OOr-<0(NOOo"*0(M^2oOOO        IN^-HO 

5    £ 

>> 

Ifl 

BD 

g 

w 

o 

JM 

3 

\ 

5 

—            3 

C«                 0 

a 

"O 

a 

* 

-/. 
>. 

0 

CQ 

OOOOCOOOO  ^00"§OO^HO       Oi-HO 

£    § 

1 

1 

:•: 

3 

(N--H^int>T)<00       d  «*  •  «  0  10  "*  N        COIOO 

*^ 

*       X 

1 

E 
= 

n 

<N  —  1  0  Tf  Tf  0  0  i-l         r-IN         ^-Ir-lrHO         »HOO 

i—  i         i—5 

*    g 

? 

3 

OP300       OiOOM       'lM(N        rH^HOO        IOIM 

5        > 

3    2 

Si 

Z 

•r. 

>> 
O 

pq 

Or-lrH          01-100         0^         OOINO          i-HO 

_0 

1 

£     * 
«    g 

| 

7 

'6 

COOlO       i-HCOIN-^       O  CD       CO  O  CO  CO        rf  t- 

2 

a 

"o 

•-     5 

•    g    s 

X 

S 

>> 

0 

pq 

Wi-lO        0<NOi-H       00       OOTho'SoiM 

u 

0) 

1 

.2 

1       0 
•S       2 

01 

>i 

03 

^- 

5 

t-  1>  eo      I-H  I-H  N  CM      o  ip      ooOi-iooOa; 

1 

•5 

O)           M 

3|* 

cr      p 

Jg 

s 

• 
>» 

0 

PQ 

TCO-*     oOr-io     OCM     eoo^-io     OCM 

0 

1 

C3         t» 
^          EH 
O          C/2 

fl) 

5 
>» 

'-2 

CO-*CO'^N(NOOX«'00^'^)0(NT1<       00>^ 

73                    T)           t3                                  TJ 
rt                     c8            cfl                                   rt 

c 

s 

0!            .-» 

SK 
3        § 

i 
n 

jd 

bQ 

•j. 
>> 

0 

pq 

O  ,H  (M   Mo  »H  0  0  MO  <-H   MO  0  -H  <-H       0  CO   M 
1*                           M               4*                                              »- 

^             .2       £                      «2 

w 

1    a 
£  -g 

s 

0 

| 

7. 

5 

O  -^<  CO^  O  T-HO  O^O  •^''^OOO  CO  CM       OiO^ 

^ 
s 

£      Z 

4-> 

x 
•* 

>. 

0 

^ 

tn                                        tH                       (-1                                                                  ^ 

OCMT-I  QOOO^H  Qoeo  O^OCOTH     O^H  Q 

i        &          5     S                & 

"w 
JJ 

O 

£ 

1 

•f. 

h 

;5 

Oi-iO       CMCMCOO       Oi-l       I00i0r-l       O  "* 

0 

c 

£ 

<p 

0) 
T3 

s 

•j-. 
>, 

|| 

OOO        O  1-1  ^H  O        O-rH        OOOO       O  CNJ 

£ 

i 

'S 

Cfl 
C3 

1 

5 

OO^H        ^fOOr-(        00        ^<OOO       00 

M 

j 

£ 

4J 

g 

s 

DB 

>. 

0 

pq 

Or-lO       0--HOO       00       0000       00 

I 

•35 

PH 

E 

1 

f. 

o 

0-HO        COCMOT-I       00        CMOOO        OO 

1 

.1 

£ 

1 

v. 
>. 
o 
pq 

OT-IO       000-H       00        i-HOOO        00 

.2 

0   oJ 

^A3 

O    02 

««-,    Cd 

.11 

.9 

i 

.MMMiMii;  rnTTT; 

::::::  :  :  :      :  :    «  :  :  .  .  .  . 
\\'^\%\\l     :  .:    |  :^  :  :  \  ' 
•  '^'6^  :  '•>    c^  -a  :§  :^^  : 

iiili^lilsiiiltlll 
Illiilgilliiglllflsal 

I   • 

fl 

3 

'-"-"-1    ^M    w    "* 

co 
•<* 

1 

O 

I 

^^ss^0^^^^^00^^0 

t- 

m 

i 

o 

©<N-I©©<N©«10©©©©©© 

1 

5 

o' 

PQ 

©©.H©©0©©CO-©©©0© 

^ 

! 

jca 

'6 

©^COCm^COCM^©^©^©© 

S 

H 

3 

m 

0 

CQ 

©0©©©N©©©©©©©©© 

© 

H 

O 

1 

en 

5 

co^c,^©^^©^^-©©©© 

§ 

S 

S 

" 

0 

QQ 

©©T-l©©l-lrHrHT-Hl-IO©©©© 

3 

i 

"£ 

b 

©^^^©coa,^©^^^©^^ 

Oi 
Oi 

s 

0 

CC 

©©^©©--co©©^©-©© 

Oi 

| 

M 

3 

©-WCMW     a.c^comw©-© 

t- 

x 

oo 

o' 
CQ 

©©©©^        ©©^©^COrH©© 

•^ 

1 

CO 

'5 

©©^HN^       .CC.^OO.OCO©^© 

© 

Oi 

j5 

o' 

CQ 

©r-l©rHrH          (MrHr-t©CO©CM©© 

C^3 

1 

00 

O 

©  ©  m  to  co     t>  vn  co  «o  co  ©  ^H  CM  © 

S 

1 

CO 

0 

CQ 

0©rHO©          ©^©©©©rHrHO 

N 

1 

BB 

O 

©  CO  Tf  (N  10  ^00  ^«DOO(N©'HTl<© 
73 

oo 

Q 

in 

m 

0 

CQ 

O  O  *H  O  iH   bfl^H  lOOC^WOO^-iO 
0 

eo 

CM 

0 

I 

T! 

5 

c,Nc,N^|oo^coln^©coco© 

t> 

1 

o' 
CQ 

©©©(M©    QlNCOCrHrHO©©© 

S 

i 

BO 
O 

CM  rH  CM  rH  rH         CM  CO  CM  rH  00  ©  rH  rH  © 

O5 
lO 

s 

0 

CQ 

©rH©rHrH         ©  Tf  O  ©  rH  ©  ©  rH  © 

s 

| 

O 

©<N©©rH          rHOlOOCO©©-*© 

1 

N 

s 

M 

o' 

CQ 

©©©©©         rH©©©rH©©N© 

CO 

S 

3 

©rH©©©         ©©©©rHO©©© 

C^ 

1 

o' 

©©©©©         ©©©©rH©©©© 

3 

::.::;  :3  :::::  :55 

':&  :  :  :  :g  :  :  :  :  :  :  |  § 

"o 

tf 


3 

11 

1-1 

11 

<M^<M^^O,-^.OOOO^COO^O^ 

1 

o 

00—  1000       0"g                        OOO        OOO 

•1      -1 

1 

o 
pq 

OOOO-IO        OJS              3       OOO       OOO 

:   1 

.1 

~ 

3 

OOOOOO        0   C              -U       OrH^H       —100 
CO                 CO 

'S        o 

o 
B 

o 

3 
hj 

I 

o 
pq 

OOOOOO       O   ft            "°       0-10       OOO 

W 

O 

1 

5 

OOOOOIM       (M-r               C4       0-tO        —100 

12       I 

3 

I 

o 

cc 

O-iOOOO        -10             ^        ^00       0-10 
U                >J 

1 

8 

5 

OOOOOO       —  i_c            -^       O—  iO       NOO 

.s?     .2 

^3            0 

1 

o' 
PC 

O—  lOOiHO       O^C            OH^      NOO       (MOO 

1 

3 

OOO        OO       0                              OOO       (MO 

* 

c' 

pq 

O<MO       OO       0                              OOO        (M-l 

I 

3 

—  iOrH        00-    0                              000       OCO 

% 

I 

—  I  O  O       OOCO         C^        CONo'Hoc<I 
^3           SS      S                 O 

.2       .2.2    .2           S 

| 

Ti 

'5 

Oi-^O       OOQO        oo        o^^^ri^® 

i 

o 

pq 

000        00        0                              OOO       00 

1 

3 

OO-i'tgOO       O**            'g       OOO       O-l'S' 
OS                      d             cU                                     c« 

02 

Q 

tfi 

o 

PQ 

OOO   MOO        OM             M       OrHO        OlMbO 
0                          0              O                                           0 

S 

o 

3 

5 

3 

OOO^O^H        0"g             'g       OOO       OO? 

§          §      §                1 

^3 

• 

C 

B 

ooo  ooo     o  0          o     ooo     o-i  0 

1 

11! 

3 

ooo     oo     o                    ooo     oo 

5 

0 

ca 

ooo     oo     o                    ooo     oo 

! 

3 

looo     oo     o                    ooo     oo 

o 

cc 

000        —10        0                              OOO       OO 

1 

gg 

5 

000       OO       —1                              OOO        00 

tj 

gg 

o' 

pq 

0—10        —10        0                              000       00 

^o 

it 


(*Uncl 
(tCon 


258 


1 

o 

o 

o 

o 

0 

o 

0 

0 

o 

o 

0 

0 

0 

0 

e 

o 

u 

5 

cu 

8 

c 

% 

00 

1 

0 

o 

1  trombo 

o 

0 

1  trombo 

s 

73 

I 

00 

o 

0 

o 

o 

1  cornet 
1  drum 
1  trombo 

0 

S 

i 

5 

0 

o 

0 

o 

o 

o 

o 

o 

o 

o 

0 

0 

0 

0 

0 

0 

g 

e 

£ 

1 

I 

1  mandol 

| 

b 

•e 

o 

o 

0 

11 
§1 

o 

a 

I 

o 

o 

0 

o 

o 

CO 

•c 

0 

0 

o 

0 

o 

0 

0 

o 

o 

0 

0 

o 

o 

0 

o 

0 

s 

0 

i 

s 

i 

o 

o 

o 

o 

o 

o 

o 

t 

1 

o 

0 

o 

o 

0 

o 

* 

j 

o 

0 

o 

o 

0 

o 

0 

o 

o 

0 

o 

0 

0 

1 

0 

0 

0 

0 

M 

w 

Q 

1 

a 

0 

0 

1 

0 

o 

1 

0 

0 

1 

0 

o 

0 

o 

s 

2 

0 

0 

0 

CO 

^J 

pq 

Q 

£ 

+} 

K 

o 

0 

13 

i 

£ 

O 

•H 

i-H 

i-H 

3 

.s 

i 

I 

s 

| 

0 

03 

0 

0 

o 

0 

o 

0 

o 

0 

0 

o 

O 

C5 

0 

0 

0 

_ 

I 

S 

3 

S 

o 

i 

0 

o 

0 

o 

o 

0 

0 

0 

0 

o 

o 

0 

N 

PQ 

5 

1 

o 

o 

0 

o 

o 

0 

o 

0 

0 

o 

0 

0 

o 

0 

eo 

CO 

rt 

O 

1 

1 

o 

o 

o 

o 

I 

o 

0 

o 

o 

0 

o 

o 

0 

0 

« 

- 

| 

1 

O 

0 

o 

o 

o 

0 

0 

0 

0 

0 

0 

o 

o 

0 

-     o 

0 

o 

o> 

"S 

3 

1 

0 

0 

£ 

o 

fl 

c 

0 

0 

o 

0 

0 

0 

0 

o 

o 

0 

M 

b 

i 

0) 

OG 

0 

o 

o 

o 

0 

o 

0 

0 

0 

0 

0 

0 

o 

o 

o 

0 

o 

£ 

F° 

B 

0 

0 

0 

o 

o 

*) 

0 

o 

0 

0 

o 

0 

0 

0 

0 

o 

« 

1 

c 

2 

is 

Ashland  .  .  . 

Atkinson  .  . 

Bertrand  .  . 

Bloomingto 

"G 
jL, 

« 

£ 

Geneva.  .  . 

1 

o 

X, 

<A 

i 

Lawrence  .  . 

Rising  City 

•o 
c/5 

Syracuse.  . 

Waterloo  .  . 

1st  anonym 

H 

259 


T 

3rt 

•H 

lO 

00 

I00 

TO 

3 

10 

OJ 

<o 

§ 

C. 

5  ° 

J 

! 

-c' 

c  f? 

^o 

' 

j 

p 

G 

a 

<M 

M 

t- 

IN 

o 

<« 

t- 

^ 

0 

T-t 

ifi 

T* 

el 

1 

to 

0 

t- 

jj 

T* 

^  § 

10 

i 

c 

^ 

9 

4J 

1 

i 

c 

rf 

03 

^ 

o 

03 

C4 

r^ 

w 

2S 

jH 

o 

o 

O 

c^» 

0 

03 

io 

00 

| 

1 

c. 

j! 

e 

<M 

IO 

! 

•S 

o 

O 

O 

o 

C 

O 

o 

o 

O 

O 

o 

o 

0 

O 

o 

O 

o 

0 

ci 
e« 

^ 

0 

.2 

go 

3 

i 

to 

1 

1 

.fl. 

0 

O 

- 

O 

O 

o 

i 

O 

0 

0 

0 

- 

I'l 

0 

0 

o 

; 

1 

* 

H 

^H 

Nl 

.a 

•2 

0 

O 

o 

o 

o 

o 

o 

0 

o 

o 

o 

o 

o 

0 

o 

o 

o 

C          c 

2i9 

0 

'2 

• 
c  .. 

a 

09 

o 

1 

1 

I 

CO 

V 

c 

1 

o 

0 

91 

0 

o 

0 

1  trombo 
1  clarinet 

^ 

c 

•c 

^ 
"S 

o 

0 

o 

<M 

4  (band 
and  strin; 

I 

10 

II 

o 

<M 

>aritone),  ] 
bass  viol, 
instrument 

o 

ffi 

B 

§ 

*H*g 

o 

0 

° 

ffl  **  "to 

H 

0 

0) 
0 

c 

o 

o 

o 

•* 

1 

o 

0 

1 

o 

o 

0 

0 

0 

0 

o 

g 

0 

** 

-i! 

S 

r-; 

— 

^ 

r4 

2"!^ 

a 

I 

1 

o 

o 

1 

0 

B 

o 

fts 
c 
*-'£ 

I 

£ 

o 

2 

o 

o 

1 

o 

o 

o 

10 

s!« 

a 

8 

J 

8-3 

JS  o 

S 

e 

.« 

IB*" 

^ 

H 

NI-H 

rH-H 

1-1 

<N 

1-1 

•^  o  J 

tp 

"aT"-? 

J£ 

MOT 

Jj 

o 

o 

^H 

o 

0 

0 

O 

0 

0 

o 

o 

o 

0 

0 

o 

0 

w 

ai 

Ci 

o 

S 

*8 

C4 

g 

"^ 

X~t$ 

0) 

0) 

S^  c 

fc 

i 

0 

cornet 

0 

- 

o 

o 

'a 

trombon 

§ 

o 

o 

U3 

- 

C 

o 

jj 

o 

S 

05  4-> 

111 

rH 

*H 

H 

03 

i-l  t-H 

si'0 

n 

1 

c 

§ 

few  g 

•' 

5 

"S 

£ 

6 

6 

Adams  .  .  . 

j 

<! 

Atkinson  . 

Bertrand  . 

Blooming 

1 

CO 

| 
1 

I 

Geneva.  . 

i 

o 

Havelock 

Lawrence 

Rising  Ci 

i 

"2 

00 

Syracuse  . 

Waterloo 

1st  anony 

1 

5?  **£ 

260 


I    O  O5  O  O  T^  10  to  O  OO  lOO  O  rj<  O  O  OOOO  t-  O  to      -Otp      -O 


OOOOiOOOOOOtOOO 
>lOOOrt<OOOOOOt~OtO 

t^^oocotOTttoooiasocoasoot^iototoo-^toto 


0 


<Mi-t          1O  TH          i-l 


QQ 


CO 


u3i>coa5O»oa5oo(MOrH(Mioooooi'<^ 

rH  CO  (Nl  rH  rH  rH    rH  <N  W  CO  OO  (M  rH  CO    rH 


CO  1C  W    (M  rH    <M    CO  rH 


o 


§11 


OO  O5  »O  CO  CO  O  CO  CD  «3  OS  rH  t-  ^  OO  "tf  CO    Oi  tO  <M  Ci  CO  CO  (M  IO  rH  O5  ( 
(M(MU3rH    rHt>    rH  (M  rH  (N  <M       CO  rH       rH  rH  rH    CO  (N 


rHO 


rt  tO  00  Tj<  Tf  Oi  CO  00  O  CO  rH  t- CO  CO  00  tO    CO  CO  (N  CO  rH  CO  O  to  CO  CO  °° 
Tf    rH  (>J    (N          (M  rH       rH  rH  rH    rH  (M 


o 


OO  -^  00   •  tO  t^  rH  OO   -COCO   •  -^  rH  rH  CO   •  Xf  O   •  Tj<  (M  OO  O  O>   •  00  t- 
<M  T}<  CO   •  ^f  (M  rH  rH   •    CJ   •  Tf    IO  rH   •  rH  b-   •    rH  rH  (M  <M   •  -^  CO 


t-  00  ^  ,-sO  00  <M  •«*  ^0  O  ^(N  O  00  rH        OO^-^OOOOO  ^-,00 


y  t  ^  >H  ^^  S-l  ?-l 

O  O  rH    Wo  rH  O  O   bflr-i  O   bflo  O  O  O   ^  O  O    &DO  O  O  O  (M    ^OO  O 
O  O  O  (DO  O 


(N-^CNJ    fe(MrHOrH    fe 


lNO 


o  o          o  o  o 

Oi  t- rH  ^  CO  <M  05  CO  "Z  <M  CO  JZ  (M  rH  10  (M        O  O  *Z  T*  (M  00  05  CO  *Z  ^O  t- 
rH  CO  CO  C>'<*  (N          rH  O        <M  C3-"<^          <MrH          rHCOCl>        rHrHrH(M  O^  CO 


.- 


> 


261 


!•„ 

OOJ  O  CO  »O      •      • 
0  Tj<00  tr-      •      • 
OO  CO  OtO  tO      •      • 

>        ° 

o^ 

j"* 

E 

X 

4-> 

13 

t-  O  T-H  CO  i—  1  C--  C— 

0 

0> 

0 

<M  CO  <M  r-  1  rH 

s 

^ 

g 

GO 

i-H  O  CO  OO  CD  t~      • 

0) 

w 

1—  H 

0 

1 

CD  O  to  to  to  c— 

Gi  CD  OO  CO  O5 

GO 

s 

(M  (M  1-4  i—  ( 

0 

•si 

^3 

00  00  00  03  <M  Tf  (N 

«1 

I5 

1 

r-t 

T—  1 

O 

1 

§ 

'o 

t- 

CO 

O 

^> 

^^ 

GO 

c 

§ 

s 

OOr-KMOIMO 

to 

a 

> 

0 

£ 

t-  t-  <N  rH  <M  <M  (M 

T—  ( 

s 

CO        »-t 

CO 

a 

] 

<- 

II 

CO  CO  •«*  »-l  t-H  CO 

1 

C—  O  O  CO  O  CD  O 

00 

to 

o 

8 

1 

o 

o 

.S 

C—  »H  (M  (M  i-l  (M  O 

5 

o 

s 

T-H^rHOOO(MO 

t- 

co 

t-i    t-i 

\\   \\     p 

*'   fi   S   0   g   g   & 

3 

o 

|||l|s| 

H 

GO  GO  GO  ^  ^  T^H  (M 

262 
i 

The  following  estimate  was  made  from  the  questionnaire  sent 
out  to  all  three  and  four  year  accredited  high  schools;*  a  full 
report  has  just  been  given  in  tabulated  form  for  each  of  these 
towns.  Only  towns  under  a  population  of  two  thousand  are 
listed  in  this  table,  since  the  purpose  is  to  gain  an  accurate 
estimate  for  the  smaller  places;  the  larger  towns  show  a  different 
per  cent  of  study. 

Number  of  music  pupils  in  the  grades 765 

Grade  enrollment 4,792 

Number  of  music  pupils  in  the  high  school 695 

High  school  enrollment 1,667 

Hence  16%  study  in  the  grades,  42%  in  the  high  schools  in 
the  smaller  towns. 

Estimating  for  all  towns  of  the  state  under  two  thousand 
population  (241  towns): 

Total  City  Grade                High  school 

populations  enrollment             enrollment 

204,675  37,036                     13,735 

16%  of  37,036  =  5,926  grade  music  students 

42%  of  13,735  =  5,773  high  school  music  students 

Total  number....  11, 699 

Cost  per  week  on  basis  of  50  cents,  one  lesson  a  week $5,849.50 

Cost  per  month 23,398.00 

Cost  per  nine  months 210,582.00 

Estimate  of  towns  over  two  thousand  in  population  (34  towns, 
not  including  Lincoln  and  Omaha) : 

City  population  178,458,  grade  enrollment  30,109,  high  school 
enrollment  6,812. 

Using  the  per  centage  determined  in  the  Lincoln  schools: 

22%  of  30,109  =  6,624  grade  music  pupils 
11|%  of    6,812  =      784  high  school  music  pupils 

Total  number 7,408 

Estimating  75  cents  a  lesson  as  the  basis  for  the  larger  towns 
generally : 

One  lesson  a  week $5,496 

Cost  per  month 21,984 

Cost  per  nine  months 197,756 

Total  state  estimate  for  accredited  schools: 

Towns  under  two  thousand $210,582 

Towns  over  two  thousand 197,756 

Lincoln  estimate,  given  before 44,739 

Omaha  with  an  enrollment  of  22,295  given 

the  same  estimate  as  Lincoln 114,372 


Total.  .  $567,449 


"Approximately  13  %  sent  returns. 


263 

If  a  rural  estimate  may  be  permitted,  from  conclusions 
drawn  from  a  study  of  the  material  available,  the  cost  may  be 
assumed  as  follows:  Deducting  the  enrollment  for  the  accredited 
towns  given  above,  a  total  of  168,270  is  left  for  the  rural  sections 
and  small  hamlets,  the  total  state  enrollment  being  288,369. 
Using  the  lowest  estimate  found  in  smaller  places,  15%,  a  total 
of  24,322  music  students  results.  At  a  fifty-cent  rate  for 

One  lesson  a  week.  .  .  .  $12,161 

Cost  per  month 48,644 

Cost  per  nine  months.  437,796 

Rural  cost  $437,796..  .  567,449  accredited  towns  =  $1,005,245 


Owing  to  the  great  difficulty  in  obtaining  replies  to  question- 
naires, the  task  of  giving  a  state  estimate  is  increased,  and  has 
only  been  attempted  here,  because  replies  came  freely  enough 
from  the  different  parts  of  the  state  to  reflect  conditions  quite 
accurately.  At  the  same  time,  the  survey  of  Lincoln  was  very 
carefully  made. 

The  figures  may  be  taken  as  approximately  correct,  and  are 
worth  while  when  read  with  this  thought  in  mind.  The  author 
made  several  estimates  before  tabulating  these  figures,  and 
found  about  the  same  results.  The  conclusions  are  that  the 
above  cost  is  a  very  conservative  estimate. 

It  is  found  that  many  students  go  from  different  villages  to 
some  center  where  a  conservatory  is  located,  often  paying  an 
advanced  price  for  lessons.  This  is  especially  true  where  train 
service  is  good.  Friday  or  Saturday,  Lincoln  has  a  large  rural 
school  population  which  studies  in  this  way. 

It  is  also  a  practice  for  conservatory  students  to  teach  in  the 
smaller  towns  or  the  country  even,  going  out  from  their  city 
homes  a  few  days  each  week.  Some  children  study  the  entire 
year,  while  others  take  two  lessons  a  week.  No  attempt  has 
been  made  to  estimate  or  make  allowance  for  such  cases.  Only 
a  general  flat  rate  could  be  considered. 

The  attention  of  the  reader  is  called  to  the  fact  that  the  state 
paid  out  only  $36,182  for  musical  instruction  for  the  same  year 
that  the  above  approximate  estimate  of  a  million  dollars  was 
made  for  private  study.  This  would  indicate  that  the  schools 
are  not  supplying  public  demands  in  the  teaching  of  this  subject, 
while,  furthermore,  it  shows  enormous  financial  waste.  The  same 
amount  judiciously  spent  in  the  schools,  would  be  more  than 
adequate  to  supply  all  the  children  with  proper  musical  training. 
If,  as  is  highly  possible,  this  waste  runs  through  all  lines  of  in- 
struction, it  may  be  one  source  of  the  present  cost  of  high  living 
and  tense  industrial  conditions. 

The  results  in  a  few  of  the  smaller  towns  are  given  below, 
since  the  tabulation  shows  some  very  striking  features: 


^         bfl 

ei1 


s 


- 


O        O        fr- 


T*    I   O 

31 


•si 


it 


N        CO 

r 


o  !  o  |  o  |  o 

I    I    I 


265 


The  following  points  are  worthy  of  attention: 

The  smaller  towns  generally  have  a  higher  rate  of  study  in 
the  high  school  than  in  the  grades;  the  larger  towns  show  just 
the  reverse,  probably  owing  to  the  heavier  study  and  increased 
demands  upon  the  school  children.  Country  children  have  more 
leisure  and  follow  their  natural  musical  inclination  more  often 
than  do  those  in  larger  cities. 

The  number  of  school  bands  and  attention  to  wind  instru- 
ments is  also  a  distinguishing  feature  of  smaller  high  schools. 
The  above  table  shows  twenty-four  different  instruments  studied 
in  Geneva,  the  list  being  given  in  the  classified  section  of  those 
cities,  given  just  before  the  state  tabulation.  The  orchestral  and 
violin  study  are  both  strongly  preempted  by  boys,  the  girls 
again  left  to  piano  study. 

It  will  be  noticed  that  in  Sidney,  there  are  more  pupils  listed 
as  studying  than  the  actual  enrollment.  This  would  indicate 
that  some  study  more  than  one  branch  of  music,  which  is  not 
uncommon. 

The  table  shows  a  very  fair  rate  of  boy  students,  especially 
in  the  piano  department,  the  instrument  least  favored  by  the  boy. 

The  percentage  varies  greatly,  as  the  figures  show,  the  study 
of  a  certain  instrument  being  more  of  an  epidemic,  very  often 
given  by  some  impetus.  A  good  band  man  in  town  will  stimulate 
the  band  craze,  a  good  pianist  will  have  a  large  class.  In  this 
way,  musical  activity  in  the  school  reflects  the  general  town 
musical  atmosphere.  There  is  less  choice  of  instruments.  A 
teacher  may  be  procured  for  almost  any  musical  instrument  in 
larger  towns.  Cheap  attractions  and  social  life  do  not  distract 
the  attention  in  small  places  as  much  as  in  large  centers. 

The  following  deductions  were  made  from  the  preceding 
table,  and  may  be  taken  as  the  general  situation  over  the  state: 


Private 
music 
pupils 

Cost  per 
year  at  50c 
a  lesson, 
one  a  week 

Supt's 
salary 
per  year 

Enroll- 
ment 

Popula- 
tion 

Average  cost 
of  private 
study 
per  capita 

Bertrand  
Geneva  
Havelock  
Shickley  
Sidney  
Syracuse  

98 
76 
85 
49 
149 
61 

$1,764 
1,368 
1,530 
882 
2,682 
1,098 

$1,150 
1,600 
1,350 
900 
1,700 
1,500 

186 
384 
670 
132 

387 
281 

643 
1,800 
3,500 
500 
1,800 
1,000 

$9.48 
3.56 
2.28 
6.68 
6.93 
3.55 

In  three  towns,  the  sum  paid  out  for  private  study  exceeds 
the  salary  of  the  superintendent  of  the  schools.  It  will  be  noted 
that,  as  the  cities  increase  in  population,  the  number  of  music 
students  diminish,  without  doubt  owing  to  the  increased  pressure 
in  school  work.  The  table  shows  that  the  cost  of  private  instruc- 


266 

tion  per  capita  runs  very  high  in  the  smaller  towns.  The  average 
in  the  six  towns  given  above  is  $5.41  J.  The  plan  of  instruction 
made  out  by  the  writer  (in  the  last  section  of  this  thesis),  requires 
$5.40  per  capita  a  year,  which  sum  affords  every  child  a  musical 
training  in  some  applied  study,  and  without  any  increase  to 
school  boards  other  than  is  spent  at  present.  This  would  mean 
a  saving  of  1J  cents  a  head,  or  for  the  state  $3,844.92.  In  other 
words,  if  all  the  money  spent  in  private  music  study  in  the  state 
were  put  into  a  fund  for  general  musical  work  in  schools,  (i.  e. 
all  applied  branches,  every  child  would  receive  training  through 
the  grades  and  high  school  and  a  balance  left  over  yearly  of 
$3,844.92,  as  conditions  are  now.  Heavier  private  study  would 
naturally  tend  to  increase  the  waste.  The  above  table  was 
made  for  the  six  towns  selected  at  random,  in  order  to  get 
a  general  standard.  In  all  cases,  as  stated  before,  the  approx- 
imations are  generally  accurate,  when  considered  from  the  stand- 
point of  research.  Even  so,  it  was  thought  worth  consideration, 
as  no  attempt  has  been  made  to  get  state  data  concerning  the 
cost  of  private  music  study  prior  to  this,  so  far  as  the  author  has 
been  able  to  discover.  In  addition  to  the  above  conclusions, 
this  study  indicates  that  a  number  of  states  have  a  higher  per- 
cent of  private  study  than  Nebraska.  This,  however,  is  simply 
a  tendency  which  seems  very  possible,  and  is  merely  mentioned 
here. 


CHAPTER  VI. 
CORPORATIONS. 

SUB-CHAPTER  I. 
CONSERVATORIES. 

Before  leaving  the  field  of  educational  extension,  it  is  neces- 
sary to  consider  the  subject  as  dealt  with  in  private  institutions 
and  corporations. 

There  is  no  question  but  that  the  modern  American  con- 
servatory has  done  pioneer  work  in  promoting  the  advancement 
of  the  applied  studies  in  musical  lines.  When  considered  from 
the  professional  side,  to  those  schools  must  be  given  the  credit 
for  a  high  standard  of  development. 

Conservatories  may  be  classed  under  three  heads:  Those 
which  are  private  and  exist  as  a  financial  investment,  those 
which  are  private  and  have  affiliation  with  some  educational 
institution,  and  lastly,  the  type  owned  and  controlled  as  part 
of  an  educational  system  or  college. 

The  third  class  presents  the  general  tendency  in  colleges, 
whenever  funds  and  conditions  permit,  and  is  probably  the  ideal 


267 

solution  which  will  eventually  take  place,  the  practical  branches 
being  cared  for  in  a  school  of  technology  for  that  purpose. 

The  first  type  is  an  extremely  narrow  form  of  specialization, 
and  is  doubtless  responsible  for  the  large  class  of  superficial 
musicians  which  flood  the  country.  The  reason  is  obvious 
enough.  Such  stress  has  been  laid  upon  finger  dexterity  and 
vocal  gymnastics,  as  to  eclipse  the  essential  value  of  scholastic 
lines,  while  even  the  accessory  theoretical  music  studies  are 
regarded  more  or  less  as  a  necessary  evil. 

The  lack  of  balance  caused  by  omission  is  inevitable,  since 
private  institutions  cannot  in  any  sense  compete  with  free 
educational  colleges,  in  providing  scholastic  training. 

This  fact  has  led  to  a  degradation  of  musical  degrees  in  all 
such  institutions,  until  a  bachelor  of  music  degree  may  stand 
for  anything  from  a  pitiable  two  year  conservatory  course,  to 
professional  training  heavily  ballasted  with  philosophy,  logic, 
languages  and  education,  and  musical  training  leading  into  higher 
forms  of  composition.  The  doctor  of  music  degree,  which  is 
generally  bestowed  as  honorary  from  the  colleges,  is  given  in 
many  conservatories. 

The  reactionary  tendency  in  the  educational  system  is  very 
strong,  and  may  lead  to  a  slight  excess  in  the  opposite  direction. 
A  further  development  of  this  phase  will  be  considered  in  the 
discussion  of  the  university  system,  in  the  following  section  of 
this  thesis. 

A  general  tendency  of  purely  conservatory  training  is  a 
drifting  away  from  responsibility,  lack  of  ethical  training  which 
is  so  easily  acquired  in  some  scholastic  lines,  and  a  narrowing 
down  of  the  whole  viewpoint,  as  the  result  of  too  much  special- 
ization along  one  line,  and  built  upon  scant  and  very  often  poor 
school  training. 

There  seems  little  material  in  such  institutions  for  instilling 
lessons  in  loyalty,  altruism,  in  home  life  and  its  responsibilities,, 
or  for  emphasizing  the  sanctity  and  purity  of  fatherhood  and 
motherhood.  The  present  trend  is  away  from  the  practical, 
with  an  absorption  in  artistic  life  which  emphasizes  the  remote- 
ness from  real  life  problems. 

These  conditions  are  by  no  means  insignificant,  since  the 
numbers  which  flock  each  year  to  musical  institutions  now 
include  a  small  army. 

It  is  certainly  worth  while  then,  to  reflect  upon  the  possible 
value  of  a  training  which  fails  to  consider  the  fundamental 
principles  of  life.  If,  as  observation  shows,  only  a  small  per 
cent  of  the  conservatory  output  ever  continue  or  keep  up  the 
skill  attained,  and  this  has  been  the  point  of  emphasis  during 
the  musical  training,  there  must  not  only  be  great  waste,  but  the 
training  ceases  to  function  in  the  student's  life. 

The  problem  is  how  to  make  all  educational  processes  function 


268 


as  they  should  in  the  individual's  life,  even  though  along  art 
lines,  the  studies  which  have  less  bearing  upon  the  practical 
problems  of  existence. 


SUB-CHAPTER  II. 
BOOK  AGENCIES. 

Another  form  of  activity  closely  connected  with  music  in 
the  schools,  is  the  present  tendency  of  many  book  concerns, 
which  is  primarily  commercial.  Short  courses  are  given  to 
instruct  the  teachers,  who  are  then  sent  out  over  the  country 
to  teach  a  musical  system  and  use  the  music  books  published 
by  the  agency. 

Such  institutions  have  been  very  quick  to  realize  the  need  of 
musical  training,  and  have  not  been  slow  in  taking  advantage  of 
the  opportunity  offered  for  financial  gain.  It  is  barely  possible 
that  these  corporations  have  aided  materially  in  promoting 
heated  discussions,  and  strong  inclination  for  set  methods  of 
instruction. 

It  is  to  be  deplored  that  our  educational  system  has  laid 
itself  open  to  commercializing  agencies  of  any  sort  whatever. 


PART  III. 

SURVEY. 


271 

CHAPTER  I. 
EDUCATION. 


become  a  part  in  a  great  drama  o  !  change  -.m  an      P  ^m 

- 


tifically  in  its  many  avenues  of  "JWfSKj  laboratory  to 
have  brought  the  appliances  d  M±  «  ^P8^™  social  activity, 
bear  upon  the  problems  o  feeli  ng,  W  g  ,  nt 

^etTe  gL3t!SKS  S  SSflBSWr  P^ed  for  the 
inner  soul  of  mankind. 


272 

SUB-CHAPTER  I. 
CHILD  LIFE  AND  TRAINING 

In  the  study  of  these  developmental  stages,  the  life  of  the 
child  readily  differentiates  itself  into  the  four  great  periods  of 
infancy,  childhood,  youth  and  adolescence,  each  one  well  marked 
and  very  unique. 

The  first  period,  which  extends  from  birth  to  two  years  of 
age,  is  one  of  physiological  and  sensory  experiences;  the  second 
period  closing  at  eight,  is  one  of  imagination  and  of  motor  activity. 
This  in  turn  gives  way  to  youth,  a  time  of  great  adjustment, 
The  culminating  point  is  adolescence,  for  which  the  previous 
stages  were  merely  a  preparation.  Now,  all  the  dormant  emotions 
awaken,  and  require  a  readjustment  of  the  individual. 

All  through  childhood,  the  physical  activity  is  excessive,  but 
neither  strong  nor  coordinated.  The  fundamental,  not  the  finer 
muscles  are  doing  service.  It  is  a  time  of  free  activity  and  of 
doing  for  its  own  sake.  Mental  action  is  rapid,  but  not  under 
control,  while  the  mind  is  receptive  to  a  remarkable  degree. 
The  child  is  an  eager  searcher  for  knowledge  of  all  kinds,  and  the 
attention  flits  from  point  to  point.  The  memory  is  alert,  often 
surprisingly  so,  the  mind  active,  and  yet  fanciful  and  dreaming 
in  the  extreme,  with  an  absence  of  dominating  interests.  The 
child  has  no  hard  and  fast  notions,  is  uncritical,  willing  to  lend 
a  hand  at  everything,  completely  untrammelled  by  custom  or 
conventionality. 

Beneath  this  turmoil,  and  just  out  of  sight,  both  moral  and 
aesthetic  life  slumber,  not  yet  alert  for  life's  duties,  and  still  at 
the  dawn  of  a  transition  period  so  little  understood.  A  preadult 
life  in  which  shadows  are  cast  before,  and  mingle  with  the  passing 
traits  of  childhood.  After  a  supreme  effort,  nature  severs  this 
binding  tie  of  dual  nature,  and  hastens  the  child  along  a  path- 
way strewn  with  great  optimism,  careless  abandonment,  and  a 
closeness  to  nature,  mingled  with  a  confused  waking  and  dream 
life. 

Soon,  old  fancies  and  the  old  life  are  left  far  behind,  while  a 
new  order  is  established.  The  memory  becomes  acute,  sure  and 
lasting,  while  the  child  shows  unusual  susceptibility  to  drill, 
discipline  and  adjustment.  Finer  movements  come  with  ease, 
beliefs  are  more  critical,  fixed  and  definite.  The  mind  is  now 
becoming  adjusted  to  an  outer  order  of  thought  and  action. 

This  early  stage  of  adolescence  in  turn  makes  way  for  adoles- 
cence in  its  full  maturity,  a  period  of  nervous  disorder,  emotional 
derangement  and  abnormal  cravings  and  impulses.  The  entire 
nature  indicates  profound  changes,  and  unusual  upheavals  within 
the  organism.  It  is  a  time  filled  with  grave  dangers,  for  the 
possibility  is  that  maturity  may  not  reach  full  perfection.  It 


273 

may  be  arrested  in  some  part  or  function,  in  varying  degrees 
from  slight  disturbance  of  balance  to  abnormal  personality. 
The  last  change  is  a  biological  one  of  sex  development,  and  marks 
the  final  achievement  of  nature  in  the  development  of  the  in- 
dividual. 

The  real  interpretation  of  this  stage  is  moral,  life  henceforth 
for  service  and  for  the  race.  It  is  a  time  when  evil  strives  to 
gain  possession  and  nobler  impulses  arise.  If  growth  is  normal, 
and  the  education  rightly  directed,  the  youth  soon  emerges  with 
his  impulses  well  in  hand,  and  turned  into  ever  increasingly  useful 
channels.  The  individual  is  at  his  highest  point  of  adolescence, 
and  what  is  done  now  is  done  to  the  future  of  the  race.  What- 
ever delays  it  and  brings  it  at  last  to  riper  maturity,  helps  to 
bring  the  race  to  greater  perfection.  It  is  the  time  par  excellent 
for  the  artist  to  work,  while  the  clay  is  in  the  plastic  state,  and 
before  age  comes,  content  to  hold  its  own. 

To  the  teacher  then,  the  task  must  be  assigned  of  molding 
and  forming  these  human  bits  of  clay  as  he  sees  fit.  To  his 
knowledge  and  judgment  alone,  we  must  consign  all  that  nature 
holds  in  store  for  the  future.  If  this  be  so,  the  teacher  must 
study  his  problem  again  and  again,  each  time  returning  to  the 
review  of  some  truth  profounder  than  the  last.  The  art  of  im- 
parting knowledge  is  but  a  small  part  of  his  task,  and  but  the 
beginning  of  education.  The  teacher  must  consider  all  that 
effects  the  individual.  A  comprehensive  science  of  education 
must  be  based  upon  the  history  of  all  the  educational  influences 
of  the  race,  and  must  draw  upon  all  the  experimental  and  other 
studies  of  mental  and  physical  ability  and  growth.  It  must 
include  all  hygienic  principles  pertaining  to  growth,  and  even 
many  .principles  of  psychology  and  of  medicine.  Every  study 
that  can  be  made  part  of  the  curriculum,  must  be  studied  with 
reference  to  every  phase  of  its  cultural  value.  Preparation  must 
include  all  that  is  worthy  to  be  passed  on  to  future  generations, 
and  a  system  of  education  which  fails  to  do  this,  falls  just  so 
much  short  of  fulfilling  a  duty  to  the  rising  generation,  and  must 
fail  to  educate  in  the  highest  sense. 

The  true  teacher  of  the  future  will  be  the  one  who  points  out 
the  way  to  a  better  understanding  of  the  child,  and  he  whose 
mind  and  attention  are  fixed  upon  mechanism  and  system,  and 
not  upon  child  life  itself,  will  stand  most  in  the  way  of  progress. 
Thus  human  psychology  is  the  very  core  of  the  science  and 
practice  of  education.  It  has  already  passed  judgment  upon 
many  important  problems,  which  were  regarded  as  fixed.  The 
new  ideal  insists  upon  keeping  many  questions  open  and  un- 
settled, and  by  so  doing  insures  a  fresh  and  ready  growth,  con- 
tinually stimulated  to  higher  levels  of  efficiency,  which  means 
after  all  only  a  preparation  for  life.  Almost  all  problems  need 
further  study,  some  have  not  even  entered  the  field  of  in- 
vestigation. 


274 

The  task  of  teaching  is  not  so  much  one  of  acquiring  knowl- 
edge, as  of  gaining  power,  and  of  bringing  out  instincts  to  their 
fullest  development,  by  instilling  new  impulses,  and  by  revealing 
moral  principles  at  precisely  the  time  when  they  sink  deepest, 
and  may  influence  conduct  most. 

Education  must  see  to  it  that  no  ideal  of  the  past  is  lost, 
and  yet  instill  a  deep  discontent  leading  to  higher  rational  forms 
of  culture.  Even  under  the  most  favorable  circumstances,  adult 
life  will  enter  and  cut  short  the  formative  period  long  before  we 
have  systematized  our  plans,  or  are  ready  to  hand  over  our 
charge.  The  best  education  must  necessarily  attempt  to  prolong 
this  ripening  process  as  much  as  possible  in  the  most  practical 
way,  which  must  be  at  the  same  time  the  most  natural  and 
normal. 

In  a  sense,  the  school  does  poorly  what  primitive  pioneer 
farm  life  accomplished,  and  which  is  fast  becoming  but  a  memory. 
The  vast  laboratory  of  nature  did  for  the  child  in  many  ways 
what  no  school  system,  however  perfect,  can  ever  accomplish. 
All  kinds  of  interests  in  nature  were  opened  to  the  child  at  a 
time  of  greatest  danger  to  health  and  to  morals.  His  life  was 
one  of  freedom  and  of  rural  abandonment;  his -song,  natural 
melod»s  learned  from  the  birds  of  meadow  and  forest.  The 
laboratory  open  to  country  children  has  not  been  replaced 
adequately  by  present  artificial  environment,  and  formal  studies 
for  mental  discipline.  In  a  biological  sense,  nature  demands 
that  we  do  not  step  aside  from  the  pathway  of  her  subtle  art; 
she  insists  even,  and  any  deviation  from  her  beaten  path,  or  any 
attempt  to  improve  upon  her  simple  but  powerful  means  of 
development,  only  defeats  its  own  aims. 

The  child  must  mature  slowly,  and  this  he  can  do  only  when 
his  pathway  is  strewn  with  material  upon  which  his  thoughts 
may  linger,  otherwise  his  hungry  mind  will  hurry  on  to  a  matur- 
ity, leaving  only  a  hollow  pretense,  instead  of  a  well  balanced 
individual,  susceptible  to  all  higher  values  and  ideals. 

Our  system  must  be  modified  to  meet  new  conditions,  if  it 
is  to  train  for  the  emergencies  and  opportunities  of  modern  life. 
The  ideal  is  that  which  best  meets  the  vital  problems  of  the 
present  and  near  future.  A  century  ago,  stress  could  be  laid 
safely  upon  books,  for  the  home  supplied  the  manual  labor  and 
more  intimate  training.  The  modern  school  must  furnish  not 
only  mental  discipline,  but  must  also  take  over  the  industrial 
work  and  culture  as  well.  The  process  of  adjustment,  which  is 
necessarily  slow  and  inefficient,  leaves  many  a  gap  and  void  in 
its  educational  system.  As  a  result,  we  see  everywhere,  signs  of 
a  soul  hunger  for  something  sure  and  real,  an  almost  undefinable 
unrest  which  is  pathetic  in  the  extreme.  This  is  apparent  in  the 
tendency  toward  peculiar  religious  views  and  hobbies,  as  well  as 
in  the  mad  craze  for  social  dissipation  and  idle  pastime  of  the 


275 

matinee  and  moving  pictures,  whose  prevalence  has  grown  to 
the  proportions  of  a  social  disease. 

The  problem  reduces  itself  to  the  task  of  combining  all  the 
essential  elements  in  one  individual,  in  such  a  way  as  to  acquire 
perfect  balance  of  all  the  faculties.  It  seems  absolutely  necessary 
to  make  wise  use  of  all  the  means  at  our  disposal.  One  of  the 
chief  objects  of  true  education  should  be  to  prevent  the  lower 
forms  of  interest  and  enthusiasm  from  becoming  established. 

It  is  only  in  recent  study,  that  the  powerful  influence  of  sex 
instinct  has  been  traced  to  all  forms  of  activity,  and  has  been 
found  to  be  closely  interwoven  with  the  best  products  of  mental 
life.  This  being  so,  no  theory  of  education  can  be  well  grounded 
or  safeguarded  which  does  not  recognize  the  central  place  of  this 
instinct.  Of  all  studies  upon  the  curriculum  today,  none  acts  so 
directly  upon  the  emotions  as  the  arts,  and  of  these,  music  stands 
peculiarly  alone,  as  possessing  the  mesmeric  power  of  stimulating 
the  emotions.  If  we  accept  the  physiological  evolutionary 
theory,  music  springs  from  the  propensity  to  play,  and  is  accom- 
panied by  a  pleasurable  nervous  excitement.  The  real  art 
product,  after  all,  is  nothing  but  the  artist's  inner  need  of  ex- 
pressing an  accumulated  feeling.  In  a  practical  sense,  art 
expression  may  be  regarded  as  a  healthy  and  normal  outlet  for 
surpressed  emotions  and  high  nervous  stress,  caused  by  artificial 
modes  of  living  and  tense  industrial  conditions.  (4946).  Com- 
plete surpression  of  the  emotions  is  not  possible,  hence  the 
problem,  educationally,  is  to  find  the  most  beneficial  outlet. 

The  views  of  Partridge  concerning  music  as  a  study  are  well 
worth  consideration,  and  are  here  given  in  substance:  When 
once  the  psychology  of  music  has  been  brought  to  light,  its 
important  function  cannot  be  ignored.  More  than  any  other 
kind  of  expression,  it  is  the  language  of  feelings,  and  hence  the 
most  liberal  and  humanistic  of  all,  perhaps  even  literature.  There 
is  need  of  an  awakening  to  its  value  in  America.  The  quality  of 
music  in  schools  and  elsewhere  is  very  poor,  and  as  a  nation  we 
lack  sentiment,  and  are  in  danger  of  becoming  arid  in  our 
emotional  life.  Music  adds  color  experience  and  makes  a  nation 
expressive.  It  is  thus,  not  for  the  few  but  for  the  many.  All 
can  participate  in  its  educational  value. /If  we  seek  for  deeper 
reasons,  we  can  say  music  is  the  expression  of  man  that  is  larger 
and  deeper  than  the  consciousness  of  the  individual.  It  comes 
from  the  genetic  and  ancestral  life  and  appeals  to  the  racial 
instinct.  Its  most  fundamental  quality  is  rhythm.  Music 
arouses  every  mood  of  which  the  human  consciousness  is  capable, 
and  gives  a  sense  of  freedom.  This  is  why  it  finds  response  so 
early  in  the  child,  and  why  natural  scenes  and  woods  are  sug- 
gested in  all  responsive  minds.  If  this  be  correct,  it  is  difficult 
to  overestimate  its  importance  in  education.  (4946.) 

The  impressions  of  Prof.  Davies  of  Yale,  embodied  in  his 


276 

"Art  in  Education  and  Life,"  published  last  year,  strongly 
reinforce  those  of  Partridge  just  given. 

Prof.  Davies  says,  that  in  seven  years  of  teaching  and  ob- 
servation in  Yale,  he  finds  the  men  lacking  in  sensitiveness  and 
delicacy,  pertaining  to  art  and  beauty.  He  attributes  this  to 
something  wanting  in  the  earlier  stages  of  development  in  the 
public  schools. 

On  psychological  grounds,  he  adds  that  "the  sense  of  beauty 
is  a  constitutive  element  of  human  nature,  and  involves,  in  a 
peculiar  way,  the  activities  of  ideal  perception,  imagination, 
emotion  and  judgment.  It  is  to  be  distinguished  from  agreeable 
feelings  that  follow  normal  activity/'  Education  demands  a 
process  that  squares  with  all  the  facts  of  human  nature,  an 
ideal  that  will  meet  the  demands  of  a  new  standard,  an  ideal  that 
will  chasten  and  refine.  Our  aims  have  been  to  foster  a  race  of 
hardy  citizens,  but  not  a  race  of  refined  and  subdued  ideals  of 
goodness,  purity,  truth,  and  high  moral  principles.  To  test 
every  phase  of  life  by  the  standard  of  material  success  grows 
irksome.  The  strenuous  life  fails  as  an  ideal,  because  it  is  not 
true  to  the  whole  of  human  nature.  Moral  intelligence  and  the 
aesthetic  wants  are  as  truly  human  nature,  as  are  the  wants  of 
the  body,  perhaps  more  so,  since  they  are  permanent  and  lasting, 
not  a  passing  whim. 

This  sacrifice  of  feeling  has  deeper  consequence  than  appears 
on  the  surface,  for  any  weakening  of  the  sentiments  means  more 
than  the  loss  of  creative  effort.  It  effects  the  entire  nation, 
crippling  aspiration  and  poisoning  religious  life  with  indifference. 
It  means  for  the  people,  a  lowering  of  the  social  tone,  and  a 
diminishing  and  coarsening  of  the  sources  of  satisfaction.  This 
commercial  ideal  seems  to  be  inseparable  from  a  crudity  of 
culture,  exaggerated  importance,  a  glorifying  of  mere  bigness 
and  strength,  even  vulgarity  of  speech  and  manner,  which  can 
never  be  anything  else  than  a  confession  of  weakness,  from  lack 
of  sound  training  in  the  higher  arts  of  life. 

History  itself  shows  that  the  loss  of  sources  of  permanent 
satisfaction,  has  been  the  forerunner  of  decline  and  fall.  We 
can  see  where  a  state  of  civilization  leads  to  whose  worth  of 
life  is  estimated  in  terms  of  mere  brute  force,  or  dollars  and  cents. 

Prof.  Davies  brings  up  a  point  which  is  very  significant  in 
the  fact  that  lack  of  art  is  shown  in  our  trade  with  France.  She 
sells  manufactured  articles  infinite  in  variety,  we  send  over 
crude  material.  Her  peoples  have  an  instinctive  artistic  taste 
fostered  by  years  of  school  training  along  art  lines. 

Concerning  these  conditions,  our  consul  in  Paris  said,  "there 
must  be  a  change  in  our  methods  of  education,  the  foundations 
must  be  laid  deep  and  strong  for  a  higher  and  more  subtle  in- 
dustry." America  must  prepare  for  an  artistic  revival,  and 
education  is  the  principal  agency  to  be  relied  upon  in  this 
reform.  (511.) 


277 

If  we  follow  Prof.  Davies'  line  of  argument,  a  frank  com- 
parison (between  American  born  and  educated  and  those  whose 
training  has  been  secured  in  the  older  countries)  brings  out  the 
same  glaring  need  (in  our  own  people)  of  deeply  rooted  culture. 
The  tendency  is  toward  a  superficial  display  and  lack  of  a  broad, 
true  perspective. 

European  countries  have  gone  at  art  training,  not  as  a  frill 
for  fashionable  boarding  schools,  but  as  a  real  adjunct  to  school 
training  and  discipline.  Nowhere  is  this  more  evident  than  in 
Germany,  and  as  a  result,  musical  instinct  in  particular,  has 
become  so  firmly  embedded  in  the  life  of  her  people,  that  it  can 
never  become  eradicated. 

By  some  rceans,  we  must  find  -a  binding  tie  in  our  social 
relations,  particularly  in  the  home  life.  The  child's  feeling,  "you 
can  stay  at  home  when  you  can't  go  anywhere,"  is  common 
among  maturer  minds,  and  has  disturbed  the  solidarity  of  the 
home.  Delinquency  courts  and  marital  unhappiness  show  a 
failure  on  their  part  of  education,  to  contribute  the  most  im- 
portant element  in  our  national  safety,  the  American  home,  the 
real  center  and  permanent  organization  of  the  nation.  Dis- 
sention  has  even  crept  into  our  church  pews,  the  organizations 
to  whom  we  naturally  look  for  the  highest  moral  conceptions, 
and  embodiment  of  the  noble  teachings  in  the  life  of  Christ. 
With  a  common  interest,  and  one  worth  while,  children  must  find 
enjoyment  at  home,  if  the  home  is  to  be  an  integral  part  of  their 
development. 

May  it  not  be  inferred  that  we  have  overlooked  one  of  the 
most  powerful  agencies  for  strengthening  the  foundations  of  the 
home,  by  failing  to  develop  the  musical  instinct?  The  author's 
investigations  along  this  line,  showing  the  great  amount  of  music 
study  outside  school  hours,  would  lead  to  such  a  conclusion.  It 
is  hard  to  estimate  the  effect  of  united  efforts  along  these  lines 
of  study,  by  cooperation  in  community  music,  festivals  and 
amateur  stringed  organizations,  such  as  are  coming  into  prom- 
inence more  and  more,  as  shown  earlier  in  this  thesis.  In  all 
history,  no  element  unifies  a  people  as  does  music,  in  so  much  as 
it  is  a  direct  appeal  to  the  emotions. 

Since  the  beginning  of  organized  effort,  human  action  has 
been  peculiarly  fascinated  and  led  by  the  strains  of  music  of 
some  variety.  Recent  investigation  has  shown  that,  although 
everything  in  the  form  of  music  has  been  denied  the  saddened 
hearts  of  the  Russian  exiles,  relief  was  found  for  those  dejected 
soul  by  their  indulgence  of  a  chorus,  chanted  with  closed  lips 
and  an  orchestra  formed  with  manacles  and  women's  combs  as 
instruments  of  music.  This  adds  but  another  proof  that  all 
people  use  music  as  the  most  simple  and  powerful  means  of 
expressing  the  sentiments  with  which  they  are  oppressed^  The 
song  of  the  slave  has  been  an  important  factor  in  our  own  national 
life. 


278 

If  musical  expression  is  so  fundamental,  it  should  become 
an  important  adjunct  of  education  at  public  expense,  for  it 
forms  one  of  the  highest  expressions  of  national  life.  The  "let 
alone"  policy  adopted  by  our  schools  and  higher  institutions  has 
bred  low  standards,  and  made  merchants  of  musicians.  Without 
the  best  supervision  and  support,  all  arts  tend  to  develop  into  money 
making  corporations,  a  principle  which  is  detrimental  to  the  ad- 
vancement of  any  educational  ideal.  Hope  of  financial  reward  never 
brought  forth  an  immortal  work.  History  does  not  prove  the  wis- 
dom of  a  policy  of  indifference  to  art  or  literature.  In  regard 
to  music,  our  nation  is  not  doing  its  duty  toward  the  poor.  Fur- 
thermore, it  is  unwise  to  separate  men  by  great  barriers,  i.  e.,  the 
rich  can  afford  advantages  which  the  poor  cannot  hope  to  obtain 
without  public  help,  notwithstanding  the  fact  that  the  poor 
may  possess  double  the  talent.  (468.) 

The  past  attitude  of  educational  institutions  toward  music 
has  created  an  unfavorable  sentiment  among  the  masses,  and  a 
belittling  of  the  art  which  will  be  hard  to  uproot.  In  addition, 
the  separation  of  a  scholastic  and  a  musical  training  has  served 
to  intensify  the  isolation,  and  ingrain  strong  prejudice,  even 
more  so  than  old  Puritanism.  Our  system  of  education  may 
hold  itself  largely  responsible  for  conditions  as  they  exist  today, 
and,  in  particular,  for  the  class  of  musical  instruction  which  is 
being  infused  into  our  schools.  The  completion  of  a  double 
education,  coupled  with  a  struggle  for  daily  bread,  is  beyond  the 
physical  endurance  of  the  masses. 

We  find  those  whose  life  and  education  have  been  mostly 
artistic,  who,  through  neglect  of  these  other  factors,  from  the 
moral  point  of  view,  ill  balanced  and  unstable.  But  the  source 
of  trouble  is  not  with  the  education  they  have  received,  but 
rather  with  the  part  that  has  been  neglected.  A  musical  training 
in  itself  is  not  enough  to  train  the  moral  character,  or  to  secure 
normal  balance.  It  lacks  that  personal  factor  in  the  ethical 
sentiments  which  leads  to  their  application  in  conduct.  The 
difference  is  not  that  art  and  morality  are  contradictory,  but  that, 
in  the  emotional  life,  those  two  aspects  fail  to  meet  at  the  most 
critical  point.  Rightly  taught,  music  is  a  safeguard  against  that 
which  is  ignoble  and  base.  Maliciousness  and  brutality  are  not 
the  ruling  faults  of  musicians,  even  if  strong  emotionalism  leads 
sometimes  to  moral  excesses.  So  exclusive  and  intellectual  have 
our  educational  ideals  become,  that  we  are  in  great  need  of  an 
equal  distribution  of  the  present  unequal  cultivation  of  the 
emotions.  (464.) 

There  is  evident  need  of  school  discipline  for  the  musician 
today,  and  there  is  urgent  reason  why  he  should  remain  under 
restraining  influence  longer  than  through  the  grades.  For  the 
artistic,  personality  has  impulsiveness,  emotionality,  nervous- 
ness, and  highly  strung  temperament.  He  is  even  sensuous. 


279 

While  highly  gifted,  there  is  need  of  balance,  reserve,  reason  and 
mature  judgment  to  temper  the  former  qualities.  The  modern 
educational  system  fosters  the  latter  traits  of  character.  The 
typical  American  conservatory  engenders  the  former  elements, 
and  these  are  always  a  natural  endowment  in  the  musically 
gifted  child,  regardless  of  the  character  of  the  educational  dis- 
cipline. 

If  the  per  cent  studying  privately  averages  from  twenty  to 
fifty,  or  sixty,  sometimes  even  more,  and  the  number  is  on  the 
increase,  the  student  of  social  conditions  can  see  whither  our  art 
training  is  drifting,  and  the  general  tendency.  Moral  conditions 
in  the  schools  are  not  promising,  and  there  is  cause  for  serious 
reflection,  even  in  the  kindergarten.  It  would  seem  that  the 
reproductive  instinct  dominates  even  the  infant  mind  in  an  all 
too  early  stage,  often  of  a  perverted  type. 

It  is  not  only  wise  but  expedient,  that  all  the  educational 
training  of  a  child  be  handed  over  to  the  schools,  and  imparted 
by  those  who  are  fitted  to  deal  with  a  difficult  problem.  It  is 
not  impossible  that  these  more  highly  gifted  children  with  over- 
wrought temperaments,  may  be  the  chief  offenders,  in  a  wrong 
solution  of  moral  principles.  They  are  forced,  here  and  there, 
into  avenues  of  study  little  liked  by  their  natural  talents,  or  else 
they  break  entirely  loose  from  school  discipline,  preferring  to 
follow  artistic  cultivation  in  a  more  rarified  atmosphere,  and  in 
private  conservatories  and  institutions,  under  a  class  of  in- 
structors selected  by  no  criterion  or  code  of  ethics,  save  that  of 
artistic  talent  or  genius.  The  very  principles  which  these  in- 
structors instill  are  already  in  excess,  and  especially  in  the  more 
musical  children. 

The  radical  argues  that  art  training  be  shorn  off,  but  this 
method  only  aggravates  the  difficulty  and  is  not  a  solution.  A 
natural  instinct  is  not  so  easily  disposed  of.  The  author  has 
come  in  very  close  touch  with  school  children  of  all  ages  and 
both  sexes,  and  has  seen  these  conditions  many  times. 

It  is  not  a  question  of  uprooting  any  natural  talent,  for  the 
musical  instinct  is  as  normal  and  has  the  same  claim  at  the 
hands  of  our  school  system,  as  a  taste  for  mathematics.  If  such 
is  the  case,  the  only  question  is,  how  best  to  satisfy  the  peculiar 
needs  of  these  children  in  our  schools  and  universities,  and  how 
best  to  make  them  happy  in  their  school  life,  at  the  same  time 
fitting  them  for  a  nobler  and  more  useful  life  in  later  years. 

The  advent  of  music  upon  the  curriculum  upon  an  equal 
rank  with  other  studies,  has  caused  grave  doubts  and  misgivings 
in  the  minds  of  some,  who  do  not  see  its  application  in  the  sterner 
avenues  of  a  struggle  for  daily  bread.  However,  music  rightly 
studied  as  a  branch  of  education,  and  rightly  taught,  need  not 
interfere  with  the  life  work  or  earning  capacity  of  either  the 
merchant,  the  farmer,  the  butcher,  or  the  baker.  The  student 


280 

has  no  fear  of  becoming  a  linguist  if  he  studies  languages,  nor 
does  he  anticipate  becoming  a  chemist  from  contact  with  the 
laboratory.  Why  then  attribute  some  miraculous  power  to  the 
study  of  music?  The  trouble  lies  in  the  perspective  of  the  edu- 
cators, and  in  the  way  we  have  been  teaching  music,  not  in  the 
art  itself.  It  is  neither  the  aim  nor  the  desire  that  we  train  all 
our  children  to  proficient  digital  skill  or  vocal  dexterity.  Heaven 
forbid  that  we  should  foster  a  nation  of  people  all  striving  to 
outdo  each  other  in  a  more  or  less  superficial  display  of  the 
emotions. 

It  very  often  happens,  that  the  keenest  appreciation,  the 
most  highly  gifted  musician  and  best  balanced  individual  has 
attained  such  a  development  by  a  very  mediocre  display  of 
technique.  It  also  happens  that  the  virtuoso  is  sometimes  a  fool, 
even  though  his  presentation  be  as  perfect  as  the  polished  block 
of  marble,  fresh  from  the  hand  of  the  sculptor.  The  latter  type 
of  musician  has  gone  off  on  a  tangent,  a  proceeding  which  always 
yields  poor  results,  whether  in  art  or  scholastic  lines. 

Because  of  its  showy  side,  in  that  it  lends  itself  readily  to 
the  footlights  and  the  drawing  room,  music  has  become  a  tool 
of  the  uneducated  well-to-do  class  which  seeks  social  distinction, 
as  well  as  of  the  social  belle,  the  debutante  and  the  boarding 
school  girl  out  for  "a  few  finishing  touches."  Even  the  ten  cent 
show  and  the  dance  hall  each  contribute  their  share  of  attention 
in  using  music  as  a  foil,  very  often  of  the  basest  sort. 

At  the  same  time,  non-recognition  and  indifference  is  forcing 
some  of  our  best  artists,  with  noble  instincts  and  temperaments 
which  revolt  against  such  conditions,  into  these  coarse  byways 
(the  dance  hall  and  the  pool  room),  often  with  slight  renumera- 
tion,  in  an  effort  to  earn  a  livelihood  in  some  form  of  respectability. 
There  can  be  but  little  doubt  that  the  life  of  the  artist  is  some- 
times that  of  great  sacrifice,  and  the  student,  if  he  pauses  to~ 
reflect,  cannot  but  be  impressed  by  the  fact  that  it  is  self-imposed. 
The  trials  and  hardships  are  often  endured  uncomplainingly,  for 
the  sake  of  a  great  gift.  That  a  talent  should  be  cultivated 
under  such  adverse  circumstances,  demonstrates  what  com- 
pensations it  must  offer  to  the  individual,  for  he  has  found  the 
keynote  to  a  complete  satisfaction  in  his  art  life,  which  we  have 
not  sounded  in  our  public  schools  today.  Conditions  show  that 
we  must  find  a  solution,  if  we  are  striving  to  the  best  welfare  of 
our  children. 

The  time  has  come  when  music  may  be  considered  in  its 
broader  relationships.  The  present  musical  status  and  psy- 
chological analysis  is  such,  that  the  material  is  at  hand  for  a 
systematic  study,  if  we  care  to  avail  ourselves  of  the  opportunity. 
We  need  a  more  reflective  study  of  the  data,  and  a  better  adapta- 
tion of  such  material  to  the  fundamental  principles  of  mental 
activity.  A  musician  is  interested  in  music  for  art's  sake.  The 


281 

philosopher  directs  his  interests  outward,  seeking  for  points  of 
relation  between  music  and  the  other  arts,  and  other  forms  of 
human  experiences.  The  latter  must  recognize  the  right  of  the 
musician  to  priority  in  his  own  field.  But  the  philosopher  is 
seeking  the  pathway  which  connects  this  art  with  all  the  rest 
of  human  activities.  Clearly  and  accurately  as  possible,  he 
must  attempt  to  ascertain  the  nature  of  the  psychological  pro- 
cesses involved  in  man's  experiences.  This  is  'imperative  in 
music,  for  so  little  has  been  done  that  is  systematic,  and,  besides, 
the  mental  reactions  attending  musical  sensations  are  so  subtle 
as  almost  to  evade  study.  However,  psychological  examination 
of  music  is  necessary,  for  thereon  rests  the  possibility  of  relating 
music  to  other  activities  and  hence  -to  other  studies  upon  the 
present  curriculum.  Whether  this  end  will  ever  be  attained, 
remains  to  be  seen,  but  it  presents  the  most  satisfactory  method 
of  procedure  under  existing  conditions.  The  point  is,  can  music 
justify  itself  upon  an  overcrowded  curriculum,  and  if  so,  how? 
(464.) 


SUB-CHAPTER  2. 
PRESENT  CONDITIONS. 

Before  considering  the  possibilities  of  music  upon  the  public 
school  curriculum,  it  will  be  profitable  to  glance  at  the  results  of 
our  present  system  of  musical  instruction,  not  only  in  the  schools, 
but  what  may  be  termed  the  better  training. 

Only  an  allusion  need  be  made  to  the  grade  of  music  found 
in  ten  cent  theaters,  or  even  some  of  the  best  on  Broadway.  A 
superficial  inspection  of  the  so-called  " ragtime"  in  the  home 
reveals  the  status.  Considering  the  number  of  musical  children 
in  our  schools,  there  seems  no  excuse  for  such  low  standards. 
Teachers  of  English  generally  succeed  in  training  the  youthful 
mind  away  from  coarse  literature,  why  should  the  process  be 
more  difficult  for  some  teachers  of  music?  Personal  experience 
has  shown  that  there  is  no  trouble  in  instilling  a  love  for  good 
music,  nor  do  the  children  generally  harbor  current  music  of  the 
day.  \lf  correctly  taught,  children  take  to  the  better  class  more 
quicklyHhan  to  the  cheaper,  It  is  quite  another  matter  to 
reshape  a  perverted  taste,  and  is  seldom  wholly  successful. 
Wrong  educational  growth  seems  to  leave  a  scar,  even  when 
corrected. 

It  is  possible  that  there  is  no  relation  between  artistic  beauty 
and  righteousness,  but  all  the  evils  cannot  be  summed  up 
adequately,  without  mention,  of  the  songs  of  the  salvation  armies, 


282 

whose  quality  can,  however,  be  overlooked,  because  of  the  good 
work  left  behind. 

Still,  the  modern  song  book  which  is  put  into  the  hands  of 
the  child  by  many  churches,  cannot  so  easily  escape  criticism. 
It  is  doubtful  whether  these  books  are  always  so  good  in  quality 
as  some  of  the  popular  selections.  The  songs  are  used  because 
they  represent  the  popular  taste.  Yet  how  much  of  the  above 
class  of  music  would  pass  the  test  of  a  scientist,  a  musician,  an 
educator  or  even  a  sincere  and  intelligent  Christian? 

A  taste  of  this  sort  is  not  normal.  Children  are  trained  into 
it,  as  shown  by  tests  along  this  line,  after  instilling  a  love  for 
better  music. 

The  cases  cited  in  the  municipal  section  of  this  thesis,  where 
the  best  products  have  been  given  to  those  of  uncultivated 
tastes,  prove  the  inborn  love  of  the  best  art,  when  not  distorted. 

Investigation  has  brought  another  point  to  notice  which  is 
significant  as  regards  modern  pedagogical  methods  and  results. 
In  selecting  an  adult  class  for  experimental  teaching,  it  was  the 
purpose  to  use  absolute  beginners,  but  only  a  few  were  found. 
It  would  seem  then,  that  most  people  attempt  to  study  music 
privately  at  some  time.  In  regard  to  questions  as  to  the  reason 
why  they  failed,  the  answers  indicated  lack  of  interest,  dis- 
couraged by  teachers  who  said  they  could  not  learn,  while  over- 
doses of  technique  were  the  causes  of  some  failures. 

An  increasing  number  of  children  have  come  for  instruction 
the  past  two  years,  and  their  difficulties  with  former  teachers 
seem  to  be  almost  wholly  the  teacher's  lack  of  understanding  of 
child  development  and  child  psychology.  The  demands  made  are 
those  suited  to  adults.  Interest  and  attention  are  both  dis- 
regarded, too  much  exactness,  overuse  of  pointless,  mechanical 
exercises,  and  not  sufficient  infusion  of  good  pieces,  are  some  of 
the  complaints.  A  stereotyped  method  of  teaching  without  any 
study  of  the  child,  is  perhaps  another  common  fault. 

Failure  must  be  laid  at  the  door  of  the  piano  teacher  par- 
ticularly. The  complaints  come  from  sincere,  hard  working 
students.  The  trouble  seems  to  lie  in  inability  to  express  the 
aesthetic  and  emotional  state  through  the  medium  of  the  hands. 
The  tools  have  not  been  prepared.  Since  muscular  development 
is  more  or  less  of  an  athletic  development,  coupled  with  intense 
pleasure  if  presented  rightly,  it  appears  that  any  pupil  of  the 
keyboard  should  attain,  at  least  dexterity,  and  be  perfectly  un- 
hampered in  expression  of  inward  emotion.  The  value  and  worth 
of  the  latter  is  of  course  inborn,  and  not  to  be  instilled  by  any 
instruction,  however  good. 

Paderewski,  who  represents  a  high  degree  of  pianistic  ability, 
bears  out  this  thought  in  saying,  "It  is  well  to  remember  that 
in  the  case  of  piano  playing,  the  message  from  the  brain  has  to 
be  interpreted  by  muscular  action,  and  the  more  highly  trained 


283 

the  muscles,  the  more  harmoniously  working  the  nervous  system, 
the  nearer  it  is  possible  for  the  player  to  succeed  in  getting  that 
which  he  produces  to  approximate  that  which  he  conceives  " 
(542.) 

De  Pachmann,  who  is  likewise  a  master  of  the  keyboard, 
says  that  ''work  is  the  greatest  intoxication,  the  greatest  blessing/' 
But  while  these  eloquent  words  stir  the  enthusiastic  teacher  who 
has  overcome  the  difficulties,  the  attitude  of  the  beginner  is  quite 
different.  To  him  we  will  not  talk  of  work  with  its  endless 
grubbing.  While  he  doubtless  works  hard,  he  works  outside  of 
music,  not  in  it.  Many  students  spend  years  playing  notes  with 
fingers  and  keys,  never  listening  with  the  musician's  meaning  of 
the  term. 

De  Pachmann  further  adds,  "we  will  play  to  our  pupil  and 
have  him  play  to  us,  we  will  talk  to  him  of  music  and  musicians, 
and  of  other  inspiring  subjects,  to  capture  his  attention  and 
arouse  his  ambition.  In  general,  we  will  endeavor,  by  pictorial 
word,  by  illustrative  action,  to  control  his  attention  and  to 
direct  his  efforts.  By  these  means,  we  may  stir  his  imagination, 
feebly  at  first,  it  is  true,  but  more  strongly  in  the  end,  and  by  so 
doing,  experience  that  inner  listening  which  is  so  enraptured, 
that  it  takes  possession  of  the  entire  being,  infusing  the  pupil 
with  meaningful  music  which  clamors  for  audible  expression." 
Such  is  De  Pachmann's  attitude.  Viewed  in  this  sense,  un- 
fortunate indeed  is  the  pupil  in  whom  such  a  state  has  been 
aroused  without  producing,  at  the  same  time,  perfect  facility  to 
express  the  emotions.  He  has  been  left  with  the  dry  husks.  (542.) 

Attention  has  not  been  called  to  the  above  defects  solely 
from  the  results  at  large,  but  also  through  experience.  Knowledge 
of  the  defects  led  to  observation,  and  to  a  study  of  some  means 
by  which  most  of  the  vicious  pedagogical  training  in  private  in- 
struction might  be  eliminated,  by  incorporating  such  training 
into  the  public  school  system.  Questionnaire  and  study  have 
shown  that  we  may  estimate  practically  a  fourth  of  the  Nebraska 
school  children  overburdened  by  this  outside  private  study.  If 
they  are  talented,  the  demands  of  the  music  teacher  are  usually 
beyond  the  mental  and  physical  development  of  child  life. 

By  different  tests,  it  seems  that  mere  note  reading  as  ordinarily 
required  in  exercises  and  studies,  is  tending  to  weaken  the  eye- 
sight, often  permanently.  The  small  dots  are  harder  to  follow 
than  the  print  of  a  book,  then  too,  the  child  glances  repeatedly 
from  fingers  to  notes,  constantly  changing  the  focus  of  the  eyes. 
By  sitting  down,  and  purposely  practicing  as  a  child  does,  one 
finds  that  even  an  adult's  eye  is  taxed  severely.  Because  of  this, 
and  also  because  of  the  fact  that  such  continual  note  reading 
(in  order  to  gain  proficiency  and  skill)  causes  mechanical  playing, 
it  has  been  the  purpose  to  substitute  carefully  chosen  melodious 
passages,  some  from  books,  many  original,  and  always  given 


284 

and  practiced  from  memory.  Well  selected  pieces  will  present 
whole  sections  which  serve  admirably  to  give  very  subtle  mus- 
cular training  in  the  mere  doing  for  the  sake  of  aesthetic  enjoy- 
ment. Ingenuity  upon  the  part  of  the  teacher  can  fashion 
passages  for  such  hand  training,  which  are  a  delight  to  the  child, 
and  which  rescue  him  from  the  merciless  grind  of  mechanics. 
Such  a  muscular  training  must  present  technical  instruction  of 
the  higher  type,  since  it  is  at  the  same  time  an  emotional  outlet, 
and  a  process  which  commands  interest,  lively  curiosity,  and 
development  which  is  perfectly  normal  for  the  child. 

The  piano  or  instrumental  phase  has  been  given  somewhat  in 
detail,  since  it  is  the  most  widely  studied  instrument  and  is 
capable  of  expressing  full  harmony.  For  this  reason,  it  is  at 
once  very  important.  What  has  been  said  here  with  regard  to 
piano,  applies  equally  well  to  any  applied  branch  where  some 
instrument  is  used  as  the  medium  of  expression.  Voice  training 
is  not  hampered  by  such  difficulties,  since  the  medium  is  the 
human  body  itself.  The  difficulties  here  are  those  peculiar  to 
voice  only. 

These  observations  have  been  based  upon  a  series  of  ex- 
perimental tests  (which  follow  this  section)  upon  classes  from  the 
grades  to  middle  age,  and  are  the  conclusions  drawn  from  the 
formal  application.  The  entire  aim  in  the  tests  has  been  elimina- 
tion of  unnecessary  or  harmful  training,  and  to  find,  if  possible, 
a  way  of  presenting  the  subject  in  a  normal  manner. 

For,  it  will  be  remembered,  in  language  or  drawing,  the  child 
learns  to  speak,  he  learns  to  draw  long  before  any  thought  of 
technique  of  the  art  is  presented.  He  seeks  enjoyment  in  the 
mere  doing,  and  any  rude  presentation  of  technical  work  will 
serve  only  to  make  distasteful  the  very  subject  in  which  he 
takes  delight. 

The  genius  scorns  all  bounds,  and  gives  free  reign  to  emotional 
expression,  refusing  to  be  restricted  by  artificial  limitations,  for 
his  emotional  and  intellectual  activities  mark  the  outposts. 
Each  human  being  is  a  genius  in  his  own  small  world,  and  needs 
but  the  environment  for  enfolding  as  nature  sees  fit. 

The  fact  that  so  many  of  our  great  artists  have  studied  little 
(a  few  have  had  practically  no  lessons)  should  be  significant  to 
the  teacher  of  music.  There  is  possibility  of  over-teaching,  and 
a  consequent  destruction  of  initiative  and  individuality,  which 
are  after  all  the  characteristics  of  real  talent  or  genius.  The 
budding  tree  which  unfolds  its  blossoms  in  the  early  springtime, 
needs  only  the  heaven  sent  rain  and  the  sunshine.  It  may  be 
trusted  to  open  its  buds,  and  there  is  no  reason  why  a  rude 
hand  should  force  their  premature  development.  Our  human 
tendrils  have  a  still  greater  power  of  development,  if  they  may 
be  allowed  the  same  privilege  as  the  mountain  pine,  or  the 
delicate  fern  unmolested  at  its  feet.  We  may  water  the  roots  of 


285 

the  thirsty  plant,  but  it  is  not  possible  to  open  the  tiny  pores  and 
infuse  the  nourishment.  Likewise,  it  is  possible  to  surround  the 
child  with  every  stimulus  for  mental  development,  but  he  will  in 
the  end  assume  the  responsibility  of  selection.  If  the  material 
is  unpalatable,  he  will  spurn  and  reject  it,  in  spite  of  the  attitude 
of  the  teacher. 

The  present  problem  is  not  so  much  one  of  scarcity  of  mental 
food,  but,  rather,  is  it  pleasing  to  child  life,  and  is  the  child 
absorbing,  or  is  it  simply  a  stoic  tolerance  from  sheer  necessity? 


SUB-CHAPTER  3. 
ADULT  TESTS  IN  PIANOFORTE  STUDY. 

All  lessons  were  private  and  a  half  hour  in  length,  careful 
record  was  made  of  the  practice  time  each  day,  and  the  tests 
were  conducted  both  objectively  and  subjectively.  The  method 
of  instruction  was  based  more  or  less  upon  a  combination  of  the 
Leschetizky  system  and  of  the  Virgil  clavier  method,  the  develop- 
mental stages  being  original. 

The  so-called  "exercises"  must  not  be  taken  to  mean  exercises 
or  studies  in  the  ordinary  sense.  They  not  only  afford  a  shorter 
avenue  to  aesthetic  enjoyment,  but  increase  the  latter.  In  some 
cases,  the  interest  has  been  greater  in  watching  growth  of  strength 
and  facility  in  this  memory  work  than  in  pieces.  The  aim  through- 
out has  been  to  promote  interest  and  attention,  by  the  method 
of  training  and  aesthetic  enjoyment  obtained  from  the  best  of 
simple  classics,  no  compulsion  or  prompting  being  used  in  exact- 
ing practice.  In  almost  every  case,  it  was  necessary  to  break  up 
artificial  conditions. 

The  "exercises"  were  always  from  memory,  the  purpose 
being  to  allow  the  mind  freedom  for  exaggerating  looseness  of 
muscles,  and  the  formation  of  rapid  development  and  contrast 
between  slow  cantabile  style,  using  the  heavy  pressure  touch  of 
the  Leschetizky  method,  and  constantly  alternating  with  very 
light,  fast  work  upon  the  surface  of  the  keys.* 

Carried  along  with  this  study  were  powerful  exercises  for 
stretching  the  tendons  between  the  fingers,  and  occasional 
special  ones  for  strengthening  each  separate  finger,  away  from 
the  piano. 

Most  of  the  memory  work  was  adapted  to  and  formed  a  special 
study  of  the  technical  difficulties  of  a  piece  about  to  be  taken 

*The  writer  is  indebted  to  Madam  Conrad  for  many  valuable  suggestions 
in  regard  to  muscular  hand  development. 


286 

up.  The  constant  aim  was  to  keep  the  muscular  'development  in 
advance  of  the  mental.  The  exercise  work  was  reduced  to  a 
minimum  in  every  case. 

The  adult  classes  consisted  of  three  sets  of  experiments: 
(1)  Married  women,  (2)  university  graduates  working  for  ad- 
vanced degrees,  (3)  adult  working  girls. 

MARRIED  WOMEN. 
1. 

A  young  lady  with  no  previous  training  and  of  a  social  type,  with  no 
children.  She  studied  in  February  and  March,  but  ceased  on  account  of 
illness.  The  average  practice  was  one  and  one-half  hours  daily.  Fingers 
were  naturally  strong  and  acquired  looseness  immediately.  Perfect  familiarity 
with  the  staff  was  gained,  as  well  as  a  clear  tone  and  good  discrimination  of 
tonal  effects.  A  fair  amount  of  speed  was  attained.  Three  compositions  of 
the  grade  of  Schumann's  "Slumber  Song"  were  mastered  with  pedal,  one 
involving  chord  technique,  the  others  requiring  the  tonal  quality  characteristic 
of  Chopin. 

Had  this  subject  continued,  the  purpose  was  to  lead  her  directly  into 
Chopin  and  Schumann. 

2. 

A  young  lady  who  was  brought  up  on  the  farm,  quick  mentally,  but  with 
only  an  elementary  education.  She  was  a  clerk  in  a  store  previous  to  mar- 
riage, of  a  very  practical  and  sensible  disposition  with  a  domestic  inclination. 
She  had  no  children.  The  tests  were  hindered  by  the  fact  that  the  subject 
was  extremely  nervous,  owing  no  doubt  to  her  physical  condition,  as  she  was 
soon  to  become  a  mother. 

The  experiments  lasted  during  February  and  March,  and  the  lady  was 
an  absolute  beginner.  She  was  of  a  soft,  loose,  childlike  build,  which  lent 
itself  readily  to  the  finger  gymnastics.  Five  pieces  were  mastered  of  the  first 
grade,  and  of  a  dreamy,  poetic  quality.  A  naturally  quick  and  receptive 
mind  was  clearly  retarded  by  the  condition,  the  apparent  unaccustomed  dul- 
ness  seeming  to  fret  the  individual. 

3. 

An  older  lady  with  grown  family,  surrounded  by  good  educational  condi- 
tions, and  with  a  very  musical  ancestry.  She  had  broad  experience,  good 
understanding,  and  was  reared  in  the  city.  She  was  a  good  reader  and  ac- 
customed to  thinking  and  reflection. 

The  subject  was  an  absolute  beginner,  started  January  1,  with  two  lessons 
a  week,  and  still  continuing  with  every  possibility  of  becoming  an  interesting 
performer. 

She  was  given  two  simple  pieces  the  first  week,  the  second  week  she  began 
a  fast  "Spinning  Lay"  with  notes  lying  very  easy  for  the  fingers.  This  was 
thoroughly  learned  by  February  1,  with  pedal  use  in  the  same  the  first  week 
in  February.  In  the  meantime,  Guilmant's  "Lullaby"  was  assigned  the 
third  lesson,  intended  especially  as  a  tone  piece,  the  first  page  being  well  played 
by  the  time  the  "Spinning  Lay"  was  completed. 

The  Chopin  Prelude  No.  7  was  started  the  sixth  lesson,  February  5,  and 
proved  hard  to  master,  since  the  notation  was  still  very  new.  On  February  17, 
the  subject  had  discovered  the  feeling  of  power  gained  by  finger  pressure. 
A  strong  sense  of  satisfaction  was  felt  from  perfect  looseness  and  good  physical 
conditions.  From  this  time  on  there  was  a  sense  of  great  enjoyment  in  watch- 
ing muscular  development  in  the  finger  gymnastics,  and  in  producing  the 
clear  liquid  tones  which  are  characteristic  of  an  absence  of  muscular  tension. 


287 

By  this  time  good  progress  was  being  made  in  all  forms  of  finger  legato 
and  velocity,  chromatics,  rapid  trill  work,  slow  arpeggios,  pressure  exercises 
for  strength,  and  stretching  exercises,  with  a  beginning  of  the  use  of  dynamics. 

Gurlitt's  "Merry  Company"  was  given  the  first  part  of  March,  requiring 
a  dainty  touch  and  staccato.  It  was  fairly  well  mastered  the  first  lesson. 
Tschaikowsky's  "Dolly's  Funeral"  was  assigned  March  19,  and  was  the  most 
satisfactory  piece  given.  The  Russian  element  of  deep  melancholy  and  heavy 
tragedy  was  perfectly  interpreted  and  appreciated,  resulting  in  a  beautiful 
conception  in  the  performance.  Tone  quality  was  good,  and  there  was  no 
reason  to  doubt  that  the  result  obtained  came  from  a  mental  grasp  of  the  com- 
poser's art,  and  this  minimized  technical  difficulties. 

This  selection  was  mastered  at  once  and  gave  the  performer  an  infinite 
amount  of  pleasure.  Improvement  was  very  rapid  after  this,  muscular  free- 
dom, interest,  and  attention  being  all  that  could  be  desired. 

A  "Rpmace"  in  three  flats  was  given  April  9,  especially  a  tone  piece,  and 
was  acquired  readily.  At  the  end  of  the  month,  she  had  taken  up  some 
charming  etudes  of  Streabbog  of  the  second  grade,  using  only  those  which 
avoided  the  mechanical  quality  characteristic  of  such  studies.  Her  tech- 
nique at  this  point  consisted  of  a  large  variety  of  trill  exercises  for  speed  and 
lightness,  and  holding  down  the  thumb,  meanwhile.  These  exercises  proved 
hard  to  master. 

The  subject  has  exhausted  second  grade  work  as  far  as  instruction  is  con- 
cerned, and  is  ready  for  third  grade  pieces,  after  more  freedom  has  been  gained 
by  the  present  pieces,  and  continued  finger  exercises.  She  shows  a  strong 
tendency  to  improve  most  rapidly  when  her  lessons  are  slightly  beyond  her 
technical  equipment. 

The  pieces,  so  far,  have  been  selected  from  W.  S.  B.  Mathews'  volume  of 
pieces,  grade  one  and  two  combined. 

She  may  now  go  into  the  second  volume  of  the  same,  which  includes  the 
third  and  fourth  grades,  or  else  take  up  a  volume  of  Schumann  or  Schubert 
with  some  Russian  numbers.  If  improvement  continues  steady  through  the 
summer,  she  will  attempt  an  easy  movement  from  a  Beethoven  sonata  in 
the  fall. 

So  far,  the  subject  has  memorized  all  pieces  without  any  difficulty.  There 
seems  to  be  a  strong  desire  to  free  the  mind  of  note  reading,  and  a  tendency 
to  concentrate  upon  the  attainment  of  muscular  control  and  aesthetic  emotion. 
The  latter  element  is  strong  and  well  developed,  while  attention  and  interest 
are  excellent.  The  test  has  been  very  satisfactory,  and  if  carried  out  for  two 
or  three  years,  will  aid  very  materially  in  giving  data  upon  the  possibility  of 
adult  learning  as  applied  to  the  practical  study  of  an  instrument. 

The  practice  hours  were  as  follows: 

Pieces  Exercises 

January 12  hours          6f  hours 

February 15£  8| 

March 15|  13£ 

April  entire  practice  20f  hours. 

The  entire  practice  period  has  amounted  to  92£  hours,  approximately  one- 
third  being  devoted  to  memory  work  or  hand  development,  and  averaging 
about  three-quarters  to  an  hour  a  day  altogether.  It  will  be  noticed,  that 
while  the  time  spent  on  pieces  remained  fairly  constant,  the  time  devoted  to 
exercises  steadily  increased,  and  without  any  suggestion.  This  was  due  to 
a  realization  of  strength  gained,  and  a  lively  interest  in  the  exercises  which 
were  characteristic  and  very  varied,  and  as  melodious  as  simple  pieces. 

In  this  test,  there  has  not  been  any  trace  of  diminuation  of  ability  on 
account  of  riper  maturity.  On  the  other  hand,  this  was  a  distinct  gain,  in 
^comparison  with  the  account  of  tests  which  follow  later.  Some  of  the  tests 
in  which  the  subjects  were  barely  leaving  the  teens  have  seemed  hopeless, 
owing  to  instability,  and  chaotic  mental  conditions. 

It  would  seem  that  a  study  which  yields  such  return  as  this  one,  is  worth 


288 

while  at  any  age,  if  we  measure  educational  activity  by  the  amount  of  power 
derived,  and  the  satisfaction  gained. 

4. 

This  subject  is  a  middle-aged  married  woman  with  two  children,  and  of 
domestic  tendency.  She  was  married  young  and  has  had  no  chance  for  higher 
educational  development.  She  is  naturally  a  student  and  a  great  reader,  with 
a  dislike  for  social  life,  very  industrious  and  of  serious  disposition. 

Her  lessons  began  September  19,  1913,  with  only  such  knowledge  as  she 
had  picked  up  in  her  own  slight  practice.  Her  physical  conditions  were  un- 
favorable, being  of  a  nervous  temperament,  with  very  tense  muscles  and 
slender  fingers.  She  took  fourteen  lessons  up  to  Christmas  with  little  change 
or  improvement,  except  a  trifle  more  finger  dexterity.  I  went  away  for  study 
and  left  her  in  the  hands  of  an  assistant  from  January  until  September. 

With  possibly  more  skill,  but  the  same  tightness  and  mechanical  work  in 
evidence,  there  was  no  fundamental  change  upon  my  return.  She  was  taken 
out  of  the  Czerny  Velocity  Studies  upon  which  she  had  been  working,  and 
confined  entirely  to  the  exercises  and  pieces,  starting  as  a  beginner.  The 
mechanical  tendency  was  easily  overcome,  but  lightness  as  a  result  of  loose- 
ness was  much  slower  in  developing.  She  has  been  one  of  the  most  satisfactory 
pupils  of  the  test,  and  probably  would  have  gained  much  more  rapidly,  if 
muscular  tension  had  not  become  embedded  at  first.  The  results  were  as 
follows: 

August  20,  1914,  five  finger  work  was  given  from  memory,  for  lightness 
and  speed,  with  the  entire  mind  concentrated  upon  relaxation  and  looseness. 
These  were  supplemented  by  a  slow,  dreamy  piece  for  tone  quality,  and  one 
full  of  buoyancy  and  lightness,  both  of  a  nature  to  be  performed  without 
exertion. 

The  finger  exercises  included  the  powerful  Leschetizky  exercises  for 
developing  strength,  and  stretching  exercises  for  loosening  the  tightened 
tendons.  Except  for  gradual  strengthening  of  fingers,  there  was  no  change 
up  to  November  5,  when  the  first  clear  tones  were  noticed,  and  the  tension 
was  sensibly  less.  By  the  middle  of  the  month  the  tone  began  to  show  finish. 
By  December  1,  spontaniety  began  to  develop,  but  with  the  mind  still  fixed 
upon  technical  difficulties,  and  careful  avoidance  of  tension. 

December  17,  " Night"  by  Smith,  from  Mathews,  volume  of  third  and 
fourth  grade  pieces,  was  thoroughly  mastered  and  memorized.  The  tone  was 
beautiful  and  the  muscular  conditions  were  very  satisfactory.  "The  Mill"  by 
Franke,  also  being  worked  on,  could  not  be  mastered.  It  is  a  light,  fast 
staccato  base,  with  a  tonal  melody.  Staccato  playing  was  and  is  yet  liable 
to  be  attended  with  stiffness.  She  dropped  "The  Mill"  and  took  up  the 
"Norse  Song"  in  Mathews'  album,  which  is  composed  of  chord  work.  This 
was  fairly  well  mastered  with  much  care  and  study. 

Schumann's  "Scences  from  Childhood"  and  Chopin's  Prelude  No.  7  were 
taken  up  the  first  of  the  year,  the  latter  being  mastered  very  rapidly.  A 
Polish  selection  from  the  Mathews'  album  proved  difficult,  and  was  not 
mastered. 

There  was  a  general  need  of  more  legato,  but  lightness  was  good.  The 
tone  was  lovely,  and  the  tendency  to  get  high  above  the  keys  still  very  evident. 
It  may  be  added  that  this  fault  has  been  hard  to  overcome,  and  comes  up 
occassionally  still  in  hard  passages.  Superfluous  movements  and  waste 
energy  have  been  unusually  hard  to  master. 

Schubert's  Impromptu  Op.  90  No.  3  was  given  February  18.  Work  was 
assigned  from  the  Leschetizky  instructor  March  4,  and  continue i  up  to  the 
present  time  combined  with  original  exercises  assigned  from  memory. 

Chopin's  Prelude  No.  15  was  given  March  11,  and  will  prove  to  be  the 
most  satisfactory  piece  studied.  It  will  probably  have  artistic  finish,  as  it 
seems  to  present  no  technical  difficulties. 

Chopin's  Prelude  No.  18  was  assigned  April  29,  but  has  not  been  studied 
long  enough  to  be  able  to  judge  of  results. 


289 

Chopin  makes  the  strongest  appeal  so  far,  as  well  as  composers  with  the 
same  general  tendencies.  As  yet,  only  poetic  tone  pieces  are  a  success,  the 
subject  being  unable  to  carry  correct  hand  conditions  over  into  rapid  passages. 
All  velocity  exercises  are  now  played  with  perfect  relaxation,  excellent 
tone  and  high  speed.  Good  muscular  conditions  are  normal  and  unconscious, 
with  no  tendency  to  relapse.  Several  attempts  have  been  made,  but  without 
success,  in  selecting  a  piece  which  will  carry  this  condition  into  a  higher  tempo. 
The  subject  has  been  helped  greatly  by  attending  good  artist  performances 
and  some  orchestral  programs  this  winter. 

Her  attitude  toward  her  work  is  ideal,  and  conditions  favorable  for  develop- 
ment, which  should  be  rapid  from  now  on,  as  the  prevailing  difficulties  have 
been  pushed  to  the  background.  She  has  no  trouble  in  realizing  as  soon  as 
muscular  conditions  are  not  satisfactory. 

The  practice  hours  were  as  follows:  Up  to  December  1,  1914,  half-hour 
daily  amounting  approximately  to  about  144  hours.  Recorded  time  for 
formal  tests  was  as  appended. 

Pieces  Exercises 

December 4:15  hours        7:25  hours 

January 6  6 

February 6:45  6 

March..  .   8:15  9:45 


Total 25:15  29:10 

Total  practice  hours,  198:25;  only  29:10  hours  not  devoted  to  the  pieces. 
As  the  table  shows,  the  practice  periods  lengthened  as  interest  and  advance- 
ment became  more  marked,  at  first  averaging  half  hour  daily,  and  later  in- 
creasing. 

UNIVERSITY  GRADUATES. 
5. 

This  lady  was  not  a  graduate  but  had  been  a  student,  and  is  now  a  teacher 
in  the  city  schools.  She  had  received  about  a  year  of  training  several  years 
ago  in  a  conservatory.  She  studied  during  December,  and  owing  to  heavy 
school  duties,  had  to  drop  her  work.  No  careful  record  was  kept,  since  the 
time  spent  was  too  short  to  admit  of  any  results. 

6. 

A  graduate  of  emotional  type  and  strong  social  tendency.  Four  months' 
training  failed  to  develop  suitable  material  for  test  work.  Concentration 
was  not  possible,  while  there  seemed  little  coordination  between  the  mental 
state  and  muscular  control.  There  was,  however,  noticable  gain  in  tone 
quality  and  smoothness  of  technic. 

7. 

This  subject  is  a  candidate  for  a  higher  degree,  and  studied  two  months 
about  a  year  ago.  She  is  a  practical  student  type,  and  of  a  serious  disposition. 
Her  study  lasted  two  and  one-half  months,  or  until  the  middle  of  March, 
when  work  upon  her  thesis  caused  her  to  drop  the  experiment. 

She  was  greatly  handicapped  by  overwork,  but  obtained  good  finger 
control,  and  was  able  to  play  small  tone  pieces  with  considerable  ease.  •'  Entire 
flexibility  and  relaxation  was  obtained,  and  several  small  selections  learned 
with  accuracy  and  good  habits.  On  account  of  heavy  work,  no  memorizing 
was  done. 

Her  time  schedule  for  January  and  February  was  as  follows: 

Pieces  Exercises 

January 1:25  hours  2:45  hours 

February 3:30  3 

10 


290 

The  total  practice  for  the  two  months  was  approximately  eleven  hours, 
which  was  scarcely  sufficient  for  a  fair  test. 


This  lady  is  a  candidate  for  higher  degree,  and  had  taken  about  ten  lessons 
several  years  ago.  She  is  of  an  intelligent,  serious  type,  very  industrious, 
and  naturally  a  student.  She  had  practically  no  knowledge  of  music,  having 
forgotten  the  notation  almost  entirely. 

Her  hands  were  well  developed  and  strong,  but  had  a  stiffness  hard  to 
overcome.  Besides  developing  exercises,  two  small  pieces,  "Child's  Prayer" 
a  tone  piece,  and  "Murmuring  Spring"  for  rapid  work,  were  learned  the  first 
two  weeks.  Schumann's  "Merry  Farmer"  and  the  "Norse  Song"  were 
given  the  third  week.  The  first  was  mastered  quite  readily,  the  latter  required 
much  practice  to  get  good  chord  effect. 

Chopin's  Prelude  No.  7  was  given  February  2.  Her  hands  had  gained  in 
lightness  and  had  less  tension.  Schumann's  "Soldier  March"  was  assigned 
March  2,  and  a  small  study. 

When  the  subject  stopped  April  1,  to  work  on  her  thesis,  nine  pieces  had 
been  learned,  nearly  all  memorized,  and  all  but  the  late  assignments  played 
with  loose  muscles,  good  tone,  and  some  finish. 

WORKING  GIRLS. 

9. 

This  subject  had  strong  social  inclination  with  no  desire  to  do  serious 
work.  She  was  foreign,  speaking  English  imperfectly,  and  was  retained  but 
two  weeks. 

10. 

A  young  lady  of  practical,  serious  nature,  with  elementary  training.  She 
was  a  beginner,  and  gains  very  slowly.  Her  mind  is  not  alert,  but  she  is 
patient  and  painstaking,  and  has  always  had  a  desire  to  learn.  She  has  been 
studying  nearly  two  months. 

The  hands  are  beginning  to  coordinate  pretty  well  in  different  voices,  and 
the  notation  is  not  so  much  of  a  problem  as  at  first.  Two  small  pieces  are 
partly  learned,  but  no  attempt  has  been  made  as  yet  to  develop  speed  and 
lightness. 

The  difficulty  is  a  mental,  not  a  physical  one,  and  very  much  more  of  a 
problem.  She  is  interested  and  offers  a  good  study  of  a  rather  unusual  type. 
A  fifteen  minute  lesson  a  day  would  yield  excellent  results,  as  the  gain  mentally 
during  a  thirty  minute  lesson  period  is  very  noticable. 

1  he  practice  hours  have  approximated  about  thirty  minutes  a  day.  This 
subject  has  never  been  able  to  sing  a  tune  or  hum  a  melody. 

11- 

This  lady  has  been  studying  for  two  months.  She  had  taken  lessons 
before,  and  played  a  strong  first  grade,  hardly  second.  There  has  been  con- 
siderable gain  in  an  aesthetic  sense  chiefly  through  the  pieces,  but  not  much 
muscular  improvement.  Up  to  the  present,  the  young  lady  has  not  shown 
much  interest  in  the  latter,  so  that  such  practice  afforded  little  progress. 

£he  shows  quick  intelligence,  good  musical  ability,  and  has  gained  much 
in  tone  quality,  finger  control  and  use  of  the  pedal,  which  she  did  not  under- 
stand. The  practice  averages  about  half  hour. 

12. 

1  his  subject  had  studied  about  a  year  with  two  different  instructors,  and 
had  never  learned  the  bass  clef.  Her  complaint  was  that  she  had  never  been 
able  to  gain  any  velocity. 


291 

By  disposition  she  is  diligent  and  of  an  industrious  nature.  She  is  not 
mentally,  extremely  active,  but  retains  carefully  what  she  has  learned. 

She  started  immediately  upon  five  finger  exercises  from  memory,  for 
velocity  and  lightness.  Her  trouble  was  that  she  used  her  arms  entirely, 
thus  affording  little  finger  movement.  She  took  up  pieces  written  for  both 
clefs  at  once,  and  found  them  very  hard  the  first  month. 

The  arm  and  finger  muscles  are  quite  loose  and  free  now,  and  the  velocity 
has  more  than  doubled.  She  has  succeeded  in  correcting  the  exaggerated 
movements  of  the  arms.  In  the  course  of  two  weeks  she  will  be  ready  for  the 
next  grade.  Two  lessons  a  week  are  taken  with  an  average  of  half  an  hour 
practice. 

13. 

This  subject  has  been  one  of  the  hardest  to  deal  with.  She  had  taken  a 
couple  of  years  before,  but  had  never  been  able  to  play  a  piece.  Her  fingers 
seemed  awkward,  and  lacked  strength  sufficient  to  press  the  keys.  As  a  result, 
she  played  with  a  harsh  tone  entirely  from  the  arms.  The  pieces  were  mech- 
anical to  the  extreme,  and  sight  reading  was  very  poor.  I  have  used  different 
methods  for  two  years  with  no  satisfactory  gain.  After  putting  her  entirely 
upon  five  finger  memory  work,  and  using  nothing  but  light  finger  touch  and 
velocity,  the  abnormally  heavy  playing  was  overcome.  Much  introspection, 
extreme  care,  and  absolute  avoidance  of  any  suggestion  of  heavy  pieces,  with 
a  freedom  from  notes,  secured  results  which  are  satisfying.  Several  pretty 
pieces  are  played  daintily  now,  with  good  habits  and  much  pleasure  to  the 
performer. 

A  second  pupil  from  the  same  teacher  showed  the  same  forcing  of  tone, 
and  must  be  connected  in  some  way  with  the  method  of  instructing. 

JUVENILE  CLASS. 

While  it  was  not  the  purpose  at  first,  to  include  observation 
of  children  in  these  tests,  the  results  were  so  satisfying  that 
some  were  made  unknown  to  the  subjects. 

This  yf«ar  more  than  ever  before,  the  class  has  been  troubled 
with  weak  eyes  resulting  from  the  application  to  studies,  and  have 
had  nervous  breakdowns.  This  nervous  twitching  was  shown  in 
some  while  at  the  lesson  even.  Study  books  have  been  gradually 
abandoned,  the  same  system  of  exercises  which  are  given  to  the 
adults  being  substituted.  The  keeping  of  a  time  schedule  has 
been  required,  exacting  only  a  half-hour  of  daily  practice,  but 
thoughtfully  and  carefully  done.  This  seemed  very  necessary,  as 
some  of  the  children  became  very  irritable  on  account  of  the 
constant  reminder  to  practice  by  mothers,  when  very  often  they 
had  already  over-practiced.  A  time  card,  elimination  of  all 
waste  energy,  and  short,  crisp,  pretty  exercises  from  memory 
have  secured  results.  The  children  are  all,  without  a  single 
exception,  very  happy  and  contented  in  their  work. 

This  process  requires  a  teacher  who  is  resourceful,  and  has 
skill  and  ingenuity  in  creating  vital  exercises  to  offset  technical 
difficulties  in  the  pieces;  but  it  is  a  system  which  pays  a  hundred 
per  cent  in  advancement,  for  by  it  the  health  of  the  children  is 
spared  as  much  as  possible. 

Since  the  first  of  the  year,  no  printed  studies  or  etudes  have 
been  used  for  the  children.  Freed  from  note  reading,  they  take 


292 

great  delight  in  introspection,  and  learn  to  tell  very  quickly 
when  they  play  with  stiff  arms  or  fingers.  When  once  they 
require  a  free,  loose  style,  a  relapse  to  muscular  tension  seems 
to  annoy  them  very  much. 

Only  the  general  characteristics  of  the  juvenile  subjects  will 
be  given,  with  the  exception  of  the  last,  No.  20,  which  has  been 
recorded  very  carefully,  as  she  furnished  a  strong  and  very 
interesting  study. 

14.  Aged  15. 

This  girl  began  her  first  lessons  on  November  26,  1912,  with  a  strong 
liking  for  the  aesthetic  rather  than  any  suggestion  of  drill.  She  is  now  in  the 
adolescent  stage,  developing  very  rapidly,  is  robust  in  build,  and  full  of  energy. 
The  family  is  large,  and  she  does  considerable  house  work  outside  of  school 
hours.  Lately  she  has  developed  a  keen  liking  for  her  music  and  plays  in- 
cessantly. For  the  past  three  or  four  months,  when  she  had  the  added  burden 
of  learning  the  German  catechism,  she  dropped  her  piano  lessons,  but  took 
them  up  a  month  ago,  and  she  has  been  busy  learning  several  hard  pieces. 
Small  technical  discrepancies  do  not  trouble  in  the  least,  for  she  goes  through 
her  studies  and  pieces  in  a  lively  rate  of  serene  complacency  and  contentment. 
Her  music,  while  not  exactly  satisfactory  from  the  artistic  standpoint,  is 
affording  her  a  superb  outlet  for  surplus  energy  and  emotional  life.  It  is 
possible  to  hold  her  down  to  melodious  pieces  of  any  degree  of  difficulty. 
She  seems  to  delight  in  overcoming  obstacles  in  the  latter.  They  are  soul 
satisfying,  if  only  hard,  but  easy  exercises  intended  to  develop  speed  and 
relaxation  do  not  command  a  passing  notice.* 

15.  Aged  11. 

Number  15  was  a  very  difficult  pupil  at  first,  a  sister  to  number  14,  but 
of  entirely  opposite  turn.  She  has  not  reached  the  full  adolescent  stage,  and 
takes  discipline  and  drill  perfectly.  Her  touch  is  clear  and  her  position  and 
muscles  perfectly  relaxed.  A  shadow  of  the  emotional  element  is  present. 
This  child  is  one  to  whom  exercises  and  studies  in  the  usual  orthodox  style 
were  given  for  the  first  year.  The  second  year  (she  began  two  years  ago)  the 
process  was  reversed.  She  was  given  the  progressive  work  from  memory, 
using  eyesight  only  for  pieces.  This  was  not  only  expedient  but  necessary, 
for  her  eyes  were  suffering,  and  now  require  glasses.  Her  practice  averages 
twenty  minutes  to  half  hour  daily,  and  has  continued  so  for  the  two  years. 
With  ordinary  application  she  plays  the  pieces  in  Mathews'  book  of  pieces, 
volume  two,  grades  three  and  four  combined,  with  three  or  four  flats  or  sharps; 
she  can  pick  out  the  time  with  a  pencil  on  practically  any  piece,  and  has  a 
high  rate  of  speed  in  the  finger  exercises.  Without  a  hint  of  overcrowding  or 
specialization,  she  is  beyond  the  advancement  of  a  second  year  piano  pupil, 
and  is  a  child  of  only  normal  musical  ability. 

16.  Aged  10. 

This  child  came  from  another  teacher  the  first  of  the  year.  She  had 
studied  almost  a  year  and  was  partly  through  the  first  volume  of  a  book  of 
exercises.  She  had  taken  every  exercise  just  as  it  came.  The  child  has  not 
had  any  pieces,  and  the  studies  were  much  too  easy  for  her.  The  standard 
of  perfection  required  in  the  performance  of  her  studies  was  too  high  for  a 
child. 

She  was  put  at  once  in  a  second  grade  book  of  pieces.  Since  she  learned 
quickly,  she  was  allowed  the  use  of  the  pedal  in  several  pieces.  She  is  not  a 


*Since  these  tests,  this  girl  has  finished,  in  good  style,  Chopin  Preludes 
Nos.  7,  15  and  20,  and  the  slow  movement  of  Beethoven's  sonata  Op.  14, 
No.  2. 


293 

strong,  robust  child,  so  her  accustomed  practice  was  cut  from  one  hour  to  a 
half  hour. 

In  addition  to  the  above  work,  she  practices  several  memory  passages 
each  week. 

17.  Aged  11. 

This  pupil  came  from  another  teacher,  discouraged  because  she  was 
obliged  to  study  her  pieces  so  long  before  completed.  She  used  her  arms 
entirely  in  producing  a  tone  which  was  harsh  and  forced,  was  extremely 
nervous,  and  found  it  almost  impossible  to  get  even  approximate  exactness, 
which  was  attributed  to  approaching  adolescence.  She  is  large  and  growing 
fast,  and  has  the  same  trouble  in  school  on  account  of  her  nerves. 

The  constant  nagging  of  a  conscientiousness  mother  to  get  her  to  practice 
caused  her  to  develop  a  defiant,  rather  hysterical  condition.  She  stopped  her 
lessons  in  October,  and  began  them  May  1,  confining  herself  to  well  chosen 
pieces  and  practically  no  finger  development.  Her  previous  condition  was 
largely  due  to  the  torment  of  practice,  for  she  was  frequently  reminded  of 
it  when  she  had  overpracticed.  She  now  keeps  a  time  card,  practicing  thirty 
minutes  a  day,  with  good  results.  She  has  never  been  reminded,  and  is 
extremely  happy  over  the  ease  with  which  she  masters  her  lessons.  Her 
progress  has  about  doubled.  While  she  is  of  a  nervous  temperament,  there 
seems  to  be  no  difficulty  when  she  is  handled  carefully. 

18.  Aged  10. 

This  child  came  the  first  of  the  year,  and  has  been  pushed  far  beyond  her 
ability  to  play  or  understand  pieces.  She  realized  this  herself.  The  tone  was 
produced  entirely  with  the  arms,  and  with  violent  force. 

She  took  very  readily  to  light  running  finger  work,  and  has  had  no  trouble 
in  breaking  off  the  arm  habit.  The  tendency  was  not  noticable  after  the 
third  or  fourth  lesson. 

The  child  has  not  started  to  advance  steadily  yet,  and  her  work  has  not 
reached  a  satisfactory  stage. 

19.  Aged  13. 

This  pupil  began  August,  1913,  and  was  a  beginner.  She  studied  fourteen 
months  when  the  family  left  the  state.  From  the  first  she  gave  no  trouble, 
and  was  one  of  the  easiest  pupils  to  handle. 

She  was  quick  and  intelligent,  and  her  advance  was  very  rapid  from 
piece  to  piece.  Time  presented  no  obstacle  and  she  was  allowed  to  use  etudes 
freely,  since  they  were  assimilated  so  readily.  No  signs  of  adolescence  were 
shown,  nor  did  the  mental  quality  of  her  work  vary  from  month  to  month. 
The  practice  time  and  lessons  were  as  methodical  as  clock  work.  Her  school 
lessons  were  mastered  in  the  same  easy  manner,  and  her  grades  remained  in 
the  nineties. 

20.     9  years  last  August. 

Number  20  is  an  interesting  pupil  and  one  of  the  most  satisfactory  of  the 
children.  Conditions  in  the  home  are  so  favorable  that  she  has  been  used  as 
a  test  pupil,  but  unknown  to  the  child.  She  recorded  her  practice  time,  and 
was  left  free  to  set  the  amount.  She  is  slight  of  build,  and  her  hands  are  very 
small  with  slender,  limber  fingers,  which  have  been  a  serious  problem. 

She  started  October,  1912,  a  beginner  at  the  age  of  seven.  I  gave  her 
ten  lessons  and  left  her  in  the  hands  of  an  assistant,  while  absent  from  the 
holidays  until  the  next  September.  During  this  time,  she  got  through  the 
instructor,  and  learned  a  little  Schumann  piece. 

I  put  her  upon  carefully  selected  memory  work  with  a  view  to  developing 
strength,  since  her  fingers  were  so  soft  as  to  bend  backward.  Ten  minutes 
of  her  practice  time  of  twenty  to  thirty  minutes  from  this  time  to  the  present 
have  been  devoted  to  this  memory  work.  She  has  developed  strong,  wiry 
fingers  with  even  balance,  splendid  tone,  understands  the  pedal  and  needs 
little  dictation  in  regard  to  its  use. 


294 

She  has  never  had  studies  beyond  the  first  instructor  (during  my  absence) 
except  for  the  memory  exercises,  has  played  only  from  easier  classics,  and  will 
be  able  to  give  a  program  an  hour  in  length  from  the  same  by  the  end  of  June. 
She  has  not  been  pushed,  but  is  fortunate  enough  to  have  a  mother  of  unusual 
judgment  in  assisting  her  children  in  their  studies. 

While  the  child  has  talent,  her  progress  is  not  beyond  the  ability  of  the 
average  child.  If  gain  continues  as  at  present,  she  will  have  mastered  all 
technical  difficulties  by  the  age  of  fifteen  or  sooner,  leaving  only  the  higher 
emotional  and  intellectual  elements  to  develop.  Without  missing  her  time, 
she  will  have  mastered  an  art,  and  should  easily  be  able  to  gain  splendid  skill 
on  some  orchestral  instrument  in  addition. 

Her  tests  as  carried  out  were  as  follows: 

September  21,  1914,  she  took  up  Schumann  No.  26,  also  his  "Wild  Horse- 
man," with  the  memory  work  intended  to  give  strength  to  the  fingers,  and 
light,  rapid  playing  upon  the  top  of  the  keys. 

September  28,  the  "Wild  Horseman"  was  played  from  memory,  and  she 
took  up  the  pedal  at  once,  with  suggestions  as  to  its  effect  and  use.  She  has 
used  it  ever  since  at  pleasure,  with  good  ear  as  to  the  blurring  of  tones.  Except 
when  tired  and,  not  alert  mentally,  she  needs  no  prompting  in  this  respect. 

By  October  12,  all  of  the  Schumann  No.  26  was  ready  to  lay  aside  for  the 
time  being.  "Merry  Farmer"  and  "Wild  Horseman"  were  both  satisfactorily 
finished.  By  the  stretching  exercise,  the  reach  between  the  fingers  had 
increased  very  materially  and  fingers  ceased  to  bend  backwards. 

She  started  memory  exercises  with  hands  together  October  22,  and  had 
considerable  trouble  to  keep  them  together.  From  this  she  passed  into  finger 
and  wrist  staccato,  with  hands  separate. 

During  November  the  child  finished  Chopin's  Waltz  in  E  flat,  and  took 
up  Rubenstein's  "Melody  in  F"  and  Mendelssohn's  "Spring  Song,"  from  the 
simplified  classics.  In  the  meantime,  she  was  playing  memory  trills  and 
memory  velocity  exercises  in  light  legato,  finger  staccato  and  wrist  staccato. 
The  tone  was  clear  and  perfectly  free. 

January  26,  she  took  up  Wagner's  "Evening  Star"  in  four  flats,  with  very 
little  simplification.  The  rapid  part  is  just  now  taking  on  finish  and  ease, 
being  beyond  her  strength  previously. 

February  8,  she  took  up  "Simple  Confession"  by  Thome,  and  began  to 
put  dynamics  of  all  varieties  in  her  memory  exercises,  and  running  the  length  of 
the  keyboard.  "  Simple  Confession  "  was  finished  and  memorized  in  two  weeks. 

March  8,  she  began  chain  trills,  also  taking  up  "Cujus  Animam"  from 
"Stabat  Mater"  by  Rossini,  written  in  four  flats.  It  has  fast  arpeggio  work. 
She  loves  it  more  than  any  of  her  pieces,  and  the  arpeggios  present  no  difficulty, 
owing  to  the  strength  gained  previously  in  the  memory  work.  Half  of  it  was 
memorized  the  day  it  was  assigned. 

Since  March  15,  the  fingers  have  strengthened  very  rapidly,  and  interest 
has  been  intense.  Began  giving  her  rapid  trills  holding  down  the  thumb. 

She  started  Schumann's  "Traumerei"  March  19,  and  is  working  it  out, 
pedal  and  all,  without  suggestions. 

April  1,  she  started  on  long  arpeggio  runs  from  memory.  April  8,  she 
took  up  a  Burgmiiller  Etude  which  is  especially  pretty,  because  of  the  fast 
arpeggios,  and  is  liked  very  much  by  children. 

May  5,  she  started  two  very  pretty  melody  pieces  of  Streabbog's  in  grade 
two,  easy  for  her  but  given  for  relaxation  and  ease.  One  is  in  broken  chords 
with  harp  effect  two  pages  in  length,  and  was  memorized  immediately  after 
her  lesson.  The  other  is  a  dainty  arpeggio  piece.  (Now  April  1.) 

The  pieces  she  had  mastered  since  September  21,  are  as  follows: 
Schumann,  "Wild  Horseman"        Thome,  "Simple  Confession" 
"Merry  Farmer"  Wagner,  "Evening  Star" 

Number  26  Rossini  "Cujus  Amman"  from 

"Traumerei"  "Stabat  Mater" 

Chopin,  Waltz  Burgmiiller,  Etude 

Rubenstein,  "Melody  in  F"  Streabbog,  Two  Melodies 

Mendelssohn,  "Spring  Song"          Beethoven,  Concerto  Andante 


295 

The  number  of  hours  consumed  in  practice,  including  pieces  and  memory 
exercises  since  September  21,  1914,  is  one  hundred  twenty-four.  Six  of  this 
was  given  to  the  latter,  so  that  only  one  hundred  eighteen  hours  meant  real 
application  to  pieces,  all  of  which  were  memorized. 

Up  to  last  January,  practice  period  was  thirty  minutes  regularly,  without 
suggestion.  She  has  spent  but  twenty  months  studying,  and  did  not  touch 
an  instrument  for  three  months  last  summer,  so  that  real  study  has  only 
occupied  fifteen  months. 

From  the  beginning,  October,  1912,  the  child  has  practiced  two  hundred 
seventeen  hours  and  twenty  minutes.  Approximately,  not  over  thirty-four 
hours  have  been  spent  apart  from  her  pieces  upon  the  memory  exercises,  nor 
are  the  latter  regarded  as  anything  but  easier  pieces.  She  takes  great  interest 
in  playing  them,  since  she  likes  to  watch  her  fingers  do  the  rapid  runs. 

Since  her  summer  vacation,  the  child  has  finished  Chopin's  Prelude  No.  7, 
is  working  on  No.  18,  and  has  memorized  and  mastered  thoroughly  the  Andante 
and  part  of  the  first  movement  of  Beethoven's  sonata  Op.  2,  No.  1. 

This  pupil  gave  the  following  program  from  memory  after  eighteen  months' 
practice  (since  she  rested  during  the  summer)  with  an  average  of  thirty  minutes 
of  daily  practice.  The  recital  was  almost  an  hour  in  length  and  without 
lapse  of  memory.  She  was  nine  years  and  eleven  months  old.  In  addition, 
she  had  mastered  enough  pieces  to  fill  another  program: 

Schumann,  "Merry  Farmer"  Streabbog,  Etude  No.  12 

"Wild  Horseman"  Etude  No.  7 

"Traumerei"  Etude  No.  4 

Rubenstein,  "Melody  in  F"  Wagner,  "Evening  Star"  from 

Thome,  "Simple  Confession"  "Tannhauser" 

Burgmuller,  Etude,  Bk.  I,  No.  1  Rossini,  "  Cujus  Animam  "  from 

"Stabat  Mater" 

Since  completing  this  thesis  in  May,  the  author  has  received  six  adolescent 
pupils,  several  very  precocious.  One  is  a  senior  in  the  high  school  at  the 
age  of  twelve.  Another  (a  boy)  at  the  age  of  sixteen  has  written  a  number  of 
compositions,  and  plays  from  the  heavier  sonatas  of  Beethoven  and  Chopin, 
with  only  two  years  of  study  previously.  They  are  interesting  as  studies, 
since  they  came  from  other  teachers,  and  offer  an  opportunity  to  compare 
different  methods  of  treatment. 

One  pupil  was  not  used  in  the  tests,  a  nineteen  year  old  girl,  since  it 
seemed  impossible  to  understand  her.  She  comes  from  a  very  musical  family 
of  unusual  intelligence,  and  is  now  a  university  student.  No  satisfaction 
could  be  gained  from  the  mother,  since  she  has  the  same  difficulty,  so  that 
it  was  thought  best  to  discard  this  subject,  in  recording  the  tests. 

CONCLUSIONS  FROM  TESTS. 

Of  the  three  adult  groups,  that  of  the  married  subjects  was 
perhaps  the  most  satisfactory.  A  broader  experience  in  practical 
^matters,  a  mind  free  from  mental  study,  and  a  desire  to  make 
*the  tests  successful,  stimulated  by  an  intense  interest  in  the 
outcome,  gave  excellent  results.  Nothing  was  found  to  indicate 
that  household  duties  had  tended  to  stiffen  the  muscles  in  any 
way.  On  the  contrary,  number  4,  who  was  not  a  promising 
subject  because  of  tense  muscles  and  nervous  disposition,  by 
hand  massage  and  extreme  care  in  practice,  has  offset  these  draw- 
backs sufficiently  to  make  approximately  twice  the  normal  ad- 
vance. Her,  practice  is  very  intense,  but  short.  Every  exercise 


296 

has  been  vital,  and  calculated  to  work  out  some  finger  weakness 
in  her  pieces. 

There  is  every  reason  to  believe  that  the  beginning  adult 
attains  as  high  a  degree  of  aesthetic  enjoyment  and  appreciation 
as  if  he  had  begun  as  a  child.  Since  we  have  so  many  examples 
where  adults  have  been  practically  beginners  and  have  attained 
astonishing  results,  we  have  no  grounds  to  say  that  the  muscles 
cannot  be  trained  with  a  considerable  degree  of  satisfaction,  even 
at  a  later  age.  The  difficulties  are  without  a  doubt  increased, 
yet  if  intellectual  development  has  been  attended  to,  there  is  an 
added  gain  of  application,  intensity  and  concentration. 

This  class  of  adults  has  shown  that,  for  cultural  reasons,  it  is 
well  worth  while  to  make  some  study  of  music.  Very  fine  classics 
of  a  simple  nature  may  be  obtained,  while  the  pleasure  and 
aesthetic  enjoyment  gained  is  such  as  is  not  obtained  from 
listening  to  any  number  of  fine  performances.  The  mere  feeling 
of  power  gained  by  doing  has  a  strong  psychic  element.  For 
example,  the  mastery  of  a  small  Tschaikowsky  number,  as  "The 
Dolly's  Funeral,"  is  sufficient  to  create  a  warmer  love  for  the 
tragic  sublimity  of  Russian  life  than  any  number  of  concerts. 
A  study  of  Schumann's  simple  pieces  brings  a  nearness  that  no 
simple  listener  ever  gains.  • 

The  tests  of  university  girls  were  not  as  fair  as  the  rest,  since 
nearly  all  the  subjects  were  writing  theses  and  hence  over- 
working, in  order  to  take  the  test.  However,  the  effect  of  college 
training  is  very  evident  in  the  work,  even  under  unfavorable  con- 
ditions. There  is  less  tendency  to  waste  energy,  concentration 
is  good,  and  these  subjects  knew  how  to  work.  These  remarks 
do  not  apply  to  the  idler  who  drifts  through  school,  but  to  the 
serious  college  students.  Some  of  the  former  are  not  used  in 
these  tests,  because  of  mental  unfitness. 

With  the  working  girls,  the  process  was  very  slow  and  the 
mental  grasp  much  below  the  other  groups.  They  came  from  a 
class  who  had  quit  school  early,  and  were  not  stimulated  by 
mental  application. 

The  same  training  given  to  children  who  were  kept  in  school 
showed  them  to  be  bright  and  alert,  with  school  grades  cor- 
responding to  the  proficiency  gained  in  private  music  lessons. 
A  careful  comparison  of  adolescent  girls  who  were  in  school  and 
those  who  stopped  after  the  eighth  grade,  showed  the  latter  to 
be  less  alert  mentally.  This  seems  to  indicate  that  the  early 
leaving  of  school  results  in  mental  dulness,  instead  of  rapid 
growth  if  the  same  girls  had  been  kept  in  school  longer.  Without 
much  exception,  there  is  considerable  stupidity  and  heaviness  in 
working  girls  who  leave  school  early.  They  are  unresponsive 
and  seem  to  need  greater  stimulation.  Yet  this  class  make 
greater  sacrifices  both  in  time  and  money  for  the  sake  of  learning 
to  play,  and  seem  extremely  fond  of  music. 


297 

The  children  naturally  present  great  variations,  owing  to  the 
difference  in  ages  and  stages  of  physical  development.  No  two 
of  these  just  tabulated  show  the  same  characteristics,  and  require 
very  different  training. 

One  of  the  most  satisfactory  plans  used  with  the  children  has 
been  the  definite  time  table,  so  that  as  they  said  "they  knew  when 
they  were  done."  Another  change  equally  important  was  the 
complete  discarding  of  the  printed  study  which  it  was  found  the 
children  despised.  The  substituted  memory  passages  were 
regarded  as  easy  pieces,  and  were  a  source  of  amusement,  since 
nothing  had  to  be  learned  from  the  book.  Discarding  of  studies 
did  away  with  the  mechanical  playing,  abuse  of  the  eyes,  and 
made  artistic  teaching  much  easier,  and  more  quickly  attained. 

When  children  once  get  the  feeling  of  perfect  muscular  free- 
dom, a  sudden  tendency  to  stiffen  annoys  them  very  much. 
One  little  girl  was  sick  for  two  weeks,  so  that  her  fingers  lost 
considerable  strength,  and  as  a  result  she  was  unable  to  do  any 
velocity  work  for  several  weeks.  Experimental  trials  .at  two 
different  lessons,  to  get  her  velocity  up  to  the  point  of  tension 
failed,  and  she  simply  stopped  or  lowered  the  tempo.  Of  her 
own  accord,  she  played  everything  slowly  until  strength  returned. 

All  children  like  the  muscular  freedom  and  looseness,  and 
perceive  very  quickly  the  difference  between  a  hard  tone  and  a 
soft,  velvety  melody.  They  seem  to  feel  easily  the  tone  beneath 

their  fingers. 

***** 

The  natural  development  in  musical  study,  if  it  is  to  conform 
to  child  growth  and  advanced  thought  along  scholastic  lines 
(and  it  must  do  so  if  it  is  to  take  a  place  of  equality  upon  the 
school  curriculum)  is  that  the  muscular  development  and  physical 
conditions  requisite  for  good  performance  upon  an  instrument,  be 
developed  during  the  drill  period  of  childhood,  and  before  the 
dormant  emotions  and  sex  instincts  enter  and  demand  expression. 
For,  in  this  latter  stage,  the  entire  organism  calls  out  for  emotional 
expression,  and  nature  must  be  assisted  as  much  as  possible  in 
relieving  the  tension.  It  is  a  question  whether  extensive  drill, 
such  as  is  practiced  by  some  music  teachers,  in  dealing  with  the 
adolescents,  especially  beginners,  is  not  positively  disastrous. 
In  attempting  to  start  pupils  during  this  period,  the  writer  has 
been  obliged  to  use  great  caution  in  this  respect,  in  order  to 
train  the  child  for  its  best  welfare,  even  at  the  expense  of  the 
orthodox  view  of  the  ordinary  musician.  For,  it  must  be  remem- 
bered, the  question  which  the  conscientious  teacher  must  ask 
himself  constantly  is,  "Am  I  doing  the  best  for  the  child's  general 
good,  am  I  assisting  his  natural  instincts  to  develop  normally  in 
conformity  with  nature?"  This  is  true  education,  and  in  the 
end  will  mean  the  best  musician,  for  his  perspective  will  be  true 
to  life. 


298 

The  reader  will  wonder  perhaps  at  the  early  introduction  of 
classics  in  the  tests  just  tabulated.  The  aim  was  not  to  show 
precocity  or  to  force  musical  growth,  but  to  reach  such  a  stage 
in  drill  and  hand  development,  that  at  adolescence,  the  child 
may  receive  the  full  benefit  from  a  study  of  our  best  classics, 
hampered  as  little  as  possible  by  poor  technique.  If  such  a 
process  is  not  possible,  then  the  child  of  ordinary  musical  ability 
must  be  doomed  to  lose  training  in  the  best  musical  literature, 
at  the  time  when  imagination,  emotion,  pitch  discrimination  and 
dreamy,  poetic  sentiments  are  at  their  best.  Aesthetic  enjoy- 
ment is  par  excellent  and  must  be  utilized,  if  results  are  to  be 
the  most  satisfactory.  There  can  be  little  doubt  but  that  wrong 
adjustment  between  child  development  and  musical  training  is 
the  keynote  to  most  failures  in  the  present  procedure. 

The  musician,  if  he  is  to  become  an  educator  in  a  scientific 
sense  (and  there  is  no  reason  why  any  distinction  should  be 
made,  since  the  same  fundamental  principles  underlie  all  educa- 
tion), must  take  his  cue  from  the  educator,  who  is  advocating 
more  and  more,  early  completion  of  the  drill  period,  even  pushing 
college  degrees,  the  doctor's  included,  down  into  the  teens,  in 
order  that  scholarly  work,  the  great  life  foundation,  may  at  least 
be  started  at  the  dawn  of  this  remarkable  period. 

We  are  likewise  pushing  all  languages  down  into  the  grades, 
in  order  to  reach  the  immortal  works,  the  great  creative  master- 
pieces, during  the  creative  and  hence  most  receptive  period.  It 
is  only  to  be  expected  that  the  university,  the  noblest  institution 
in  all  countries,  should  demand  the  same  attitude  of  the  musician. 
The  latter  must  be  brought  to  a  realization  that  the  adolescent 
in  music  requires  Beethoven,  Bach,  Schumann  and  Schubert  at 
a  time  when  nature  is  making  her  last  and  greatest  adjustments. 
To  fall  short  of  this  means  failure  in  truly  educative  training. 

The  above  remarks  do  not  apply  to  formal  study  in  voice 
during  child  development.  Since  the  entire  organism  changes 
(even  the  vocal  cords  themselves)  during  adolescence,  only  the 
psychic  and  cultural  elements  remain  behind.  Hence  any 
attempt  at  throat  formation,  except  for  general  good  habits  and 
good  childish  tone,  is  wasted  time,  and  is  likely  to  be  harmful 
as  well. 


299 

CHAPTER  II. 

SYSTEM  OF  INCORPORATING  MUSICAL  INSTRUCTION 
INTO  THE  PUBLIC  SCHOOLS. 

SUB-CHAPTER  1. 
GRADE  SCHOOL. 

The  following  plan  aims  to  include  all  applied  branches, 
orchestral  and  band  training  and  vocal  instruction  upon  the 
curriculum  of  the  public  schools.  No  hint  of  specialization  is 
aimed  at,  the  purpose  being  to  produce  children  trained  in  the 
broadly  cultural  and  appreciative  side  of  the  art,  the  applied 
subjects  being  merely  tools  to  bring  about  this  result. 

The  system  is  built  upon  the  supposition  that  all  are  more  or- 
less  musical,  that  all  should  have  the  opportunity  of  musical 
training  as  a  branch  of  education,  not  in  a  narrow  sense,  but 
broadly  enough  to  include  other  than  simply  vocal  study,  and 
that  such  training  should  be  extended  to  all,  at  public  expense. 

It  is  hoped  that  such  a  system,  when  put  in  operation,  would 
reduce  the  financial  problem  to  such  an  extent,  as  to  make  it 
possible  for  the  child  to  become  acquainted,  not  only  with  vocal 
masterpieces,  but  to  acquire  elementary  skill  in  two  or  three 
branches  of  applied  study  as  is  done  in  languages,  thereby  gaining 
the  versatility  so  common  to  many  orchestral  players.  By 
cutting  down  practice  hours,  introducing  class  instruction,  and 
training  the  emotional  rather  than  aiming  mainly  at  technical 
presentation,  it  is  possible  that  keen  interest  would  be  stimulated ; 
at  the  same  time,  there  is  ample  opportunity  from  the  first  to 
the  twelfth  grade,  to  form  an  intimate  acquaintance  with  every 
great  masterpiece,  no  matter  for  what  instrument  or  what  form 
of  opera.  Where  limitations  are  set  by  lack  of  facilities  or  lack 
of  teachers,  the  educative  value  and  real  use  of  the  automatic 
players  can  truly  serve  their  purpose  in  the  public  school  room. 

Such  a  general  plan,  if  rightly  presented,  should  furnish  ample 
foundation  for  the  dignified  musical  specialization  which  ought 
to  characterize  such  study  in  our  universities.  The  present 
public  school  standard,  while  good  enough  in  some  cities,  in 
certain  phases,  does  not  include  all  musical  instruction,  nor  does 
it  attempt  to,  more  than  by  casual  crediting  of  private  instruction. 

University  doors  will  not  open  to  the  art  until  an  adequate 
standard  is  reached,  nor  will  there  be  any  compromise  in  this 
respect.  If  a  functioning,  vital  study  cannot  be  attained,  the 
portals  of  the  school  system  must  close  to  its  admission.  For 
an  educational  institution  seeks  to  attract  the  serious  minded 
and  earnest  student;  superficial  study  or  technical  display  will 
not  accomplish  this  end. 

Naturally,  the  problem  which  confronts  educational  boards 
in  placing  the  work  upon  a  school  basis  is  the  financial  question, 
and  the  method  of  procedure.  For  this  reason,  a  typical  village 


300 

school  (which  can  easily  be  expanded  for  larger  schools)  is  taken 
as  a  unit.  The  teacher  for  such  a  position  would  be  trained  in  a 
university  along  the  lines  described  a  few  pages  further  on. 
We  shall  take  it  for  granted,  that  the  school  has  a  hundred 
pupils  from  the  first  to  the  eleventh  or  twelfth  grade,  which  is 
very  typical  of  small  western  towns.  We  shall  suppose  also 
that  the  school  board  can  afford  $25  a  month  for  a  teacher  to 
give  vocal  music,  as  is  actually  the  salary  in  many  western 
towns  with  much  larger  schools.  It  is  desirable  and  practical  to 
start  with  conditions  as  we  find  them,  and  then  to  build  up  a 
machine  which  will  promise  financial  certainty  to  the  board. 
For  the  latter  consideration  is  no  doubt  one  of  the  chief  obstacles 
in  hiring  efficient  music  teachers  in  the  western  schools.  Funds, 
which  are  usually  low,  will  not  permit  it. 

Temporarily,  while  starting  the  work,  and  in  order  to  deter- 
mine the  general  popularity  before  advancing  salaries,  it  is  prefer- 
able to  allow  the  children  to  pay  fifteen  cents  a  lesson  for  one  a 
week,  or  $2.70  tuition  a  semester  for  each  applied  study,  which 
will  probably  be  piano  and  violin  at  first. 

Out  of  a  school  of  a  hundred,  at  least  seventy-five  would 
study  at  this  price.  A  glance  at  the  number  of  children  who 
take  privately  even  at  advanced  prices,  as  shown  by  the  Nebraska 
questionnaire,  assures  one  that  this  per  cent  can  be  assumed, 
providing  competent  instructors  are  procured.  Lesson  periods 
should  not  be  over  thirty  minutes,  a  sufficient  tax  for  school 
children,  and  six  to  a  class  giving  each  child  virtually  five  minutes. 

The  group  instruction  will  be  no  loss,  in  fact,  a  distinct  gain, 
since  the  child's  attention  is  held  only  for  a  couple  of  minutes  at 
a  time,  and  the  intervals  between  attention  can  profitably  be 
put  upon  another  child.  Class  rivalry  and  the  gain  by  watching 
others  at  their  lessons  are  no  small  feature.* 

If  a  piano  class,  still  more  benefit  may  be  derived  by  using 
four,  six  and  eight  handed  compositions,  especially  the  sym- 
phonies, which  come  so  arranged.  This  plan  also  gives  invaluable 
experience  in  ensemble. 

(It  may  be  parenthetically  said  again  at  this  point,  that  a 
musician  with  the  ordinary  viewpoint  could  not  be  put  in  such 
a  position,  since  the  experiment  would  result  in  failure,  owing 
to  emphasized  technical  dexterity,  and  an  overfondness  for 
specialization.) 

The  sliding  scale  should  be  used,  so  that  a  child  who  showed 

*The  author  has  been  experimenting  for  six  months,  by  giving  such  class 
instruction  to  groups  of  children,  allowing  five  to  ten  minutes  to  a  child,  and 
with  excellent  results.  The  bond  of  sociability,  friendly  rivalry  and  interest 
in  one  anothers'  lessons  have  been  excellent,  and  show  that  class  work  is  more 
in  keeping  with  child  life  than  the  formality  of  private  instruction.  Only 
the  specialist  is  reaay  for  private  drill,  not  the  growing  child.  In  case  of 
precocious  chile  ren,  a  little  extra  help  out  of  class  hours  will  be  sufficient, 
since  it  is  advisable  that  the  child  of  genius  does  not  recognize  his  gift  at  too 
early  an  age.  He  is  likely  all  too  soon  to  become  isolated  on  this  account. 


301 

more  aptitude  than  the  other  six  or  eight  (as  the  case  might  be) 
could  be  promoted  to  another  group  at  any  time.  Very  few 
lessons  are  sufficient  for  an  apt  teacher  to  arrange  the  groups  so 
that  slower  children  will  be  together,  while  the  more  talented 
may  advance  from  group  to  group  as  rapidly  as  talent* permits. 

The  children  should  start  immediately  upon  pieces,  even  if 
beginners,  the  only  excuse  for  any  suggestion  of  exercise  being  to 
gain  a  loose  flexibility  and  freedom  of  muscles  at  the  outset.  It 
is  quite  possible  to  select  very  melodious  pieces  in  such  a  way 
that  the  very  trills,  runs  and  arpeggios  are  training  in  execution 
by  themselves,  and  have  a  higher  claim  than  any  mechanical 
exercise  ever  could  have.  The  printed  page  is  to  be  avoided  for 
reasons  stated  before,  other  than  in  the  acquiring  of  repertoire. 

The  problem  of  violin  in  class  is  easier  than  piano,  since 
each  has  his  instrument  ready  in  hand.  The  "Maidstone  Move- 
ment" is  so  successful  in  the  training  of  numbers  upon  the  violin, 
that  its  practicality  need  not  be  discussed.  More  than  six  to  a 
class  could  be  so  instructed.  It  is  better  that  children  should 
have  had  at  least  a  half  year  of  piano,  since  pitches  and  staff 
are  better  fixed.  If  a  class  of  beginners,  their  difficulties  are 
many,  since  they  must  create  their  own  pitch,  with  which  they 
are  unfamiliar,  and  the  keyboard  does  not  lie  definitely  before 
them  as  in  piano  study.  Perfect  ease  and  acquaintance  with  the 
instrument  may  be  gained  from  a  large  chart  of  strings,  with  the 
letter  names  marked  off.  Finger  positions  can  be  temporarily 
placed  on  the  neck  of  the  violin,  and  aid  the  learner  still  more  to 
gain  elementary  playing  knowledge.  As  soon  as  the  child  can 
strike  the  pitch  in  easy  skips,  by  using  the  same  chart,  the  in- 
structor can  point  off  simple  hymn  tunes  or  melodies,  minus 
real  notes.  This  will  assist  the  child  in  mastering  one  principle 
at  a  time.  When  plain,  legato  bowing  has  enabled  the  child  to 
play  the  different  notes  from  the  picture  or  chart,  he  may  have 
the  notes  of  a  piece  set  up  before  him.  If  for  lesson  period  it 
can  be  presented  in  large  type  on  the  black  board,  so  much  the 
better.  If  it  could  be  so  arranged  that  each  child  practice  his 
violin  only  with  the  piano,  the  same  pitch  being  played  upon 
that  instrument,  probably  more  violinists  would  succeed  in  at 
least  getting  the  pitch.  This  fault  may  be  attributed  to  some 
of  our  conservatory  graduates  even.  The  writer  finds  no  difficulty 
in  getting  parental  assistance  at  this  point. 

The  writer  also  does  not  teach  notation  in  the  usual  manner. 
Only  one  note  is  fixed  definitely,  and  the  child  is  told  to  reckon 
by  position.  The  first  pieces  are  selected  very  carefully,  so  that 
progression  is  by  whole  steps  and  thirds.  The  learner  can,  in 
a  very  few  minutes,  accustom  himself  to  go  up  on  or  down  one 
note,  or  leave  one  in  between,  as  the  case  may  be.  (If  the  in- 
strument is  piano,  at  this  point  even  both  hands  can  be  used,  if 
a  piece  is  selected  with  basses  almost  alike.) 


302 

Considerable  time  is  lost  by  the  beginner,  in  this  mere  cipher- 
ing out  of  each  note;  as  a  matter  of  fact,  it  matters  little  what 
the  note  is,  the  point  is  to  get  it.  Without  any  teaching  of  note 
reading,  it  comes,  one  scarcely  knows  how.  Position  playing 
seems  to 'fade  almost  imperceptibly  into  note  reading. 

Upon  the  same  principles,  a  class  in  some  brass  instrument 
should  be  started.  The  practical  manner  in  which  small  village 
bands  are  formed  is  well  worth  mentioning.  A  band  is  voted, 
a  crowd  of  growing  boys  buy  self -teaching  instructors,  for  a  few 
weeks  all  the  neighbors  are  driven  from  pillar  to  post,  but,  as  if 
by  magic,  a  band  emerges  in  a  few  weeks,  which  serves  a  very 
valuable  purpose.  Nor  is  this  the  extent  of  their  assertions. 
Many  of  the  more  energetic  members  have  several  instruments, 
and  "never  know  when  nor  how  they  learned/' 

It  is  this  adaptability  which  is  to  be  fostered,  and  which  the 
writer  has  in  mind,  and  which  must  offset  the  necessity  for  a 
highly  trained  instructor,  at  the  same  time  developing  initiative, 
which  is  so  greatly  needed  in  the  present  music  teaching  and 
scholastic  lines  as  well.  General  preparation  in  orchestral  work 
on  the  part  of  the  teacher  will  insure  good  practical  results. 

At  this  stage,  there  is  ample  material  to  begin  the  orchestral 
work.  If  players  are  extremely  amateur,  pieces  can  be  procured 
which  are  very  easy.  What  is  still  better,  and  does  not  require 
much  training  to  do  reasonable  work,  the  teacher  can  score 
hymn  tunes  and  accommodate  the  score  to  the  balance  of  the 
orchestra.  Lacking  instruments  can  be  filled  in  by  the  piano, 
or  even  cabinet  organ,  if  there  is  nothing  better.  Mandolin  and 
guitar  players  can  be  utilized  also.  It  is  recommended  that 
children  be  placed  in  the  orchestra  as  soon  as  they  can  find  one 
note  to  a  measure.  The  teacher  can  readily  score  such  a  part. 
This  will  give  them  the  aesthetic  pleasure  of  participating  in 
works  of  ensemble  at  a  very  early  stage.  This  should  be  in  a 
few  weeks. 

In  the  meantime,  work  in  class  singing  goes  on  combined  with 
applied  study.  The  process  should  be  the  accumulation  of  a 
repertoire  of  songs,  with  the  study  of  some  easy  cantata  always 
running  along  with  the  songs,  but  such  to  be  written  for  and 
adapted  to  child  voices,  and  not  adult  operas  or  pretentious 
works.  The  latter  may  very  profitably  be  accompanied  by  the 
school  orchestra  even  in  class  practice. 

The  voice  work  is  to  be  spontaneous,  free  and  loose  singing 
of  the  songs,  unhampered  by  technique,  with  no  attempt  at 
voice  culture,  except  to  see  that  position  is  good,  muscles  relaxed 
and  tone  production  natural.  Since  a  child's  voice  is  normally, 
naturally  placed,  the  attempts  should  be,  for  the  most  part, 
directed  to  a  process  of  preserving  this  state.  Since  the  way  to 
learn  to  sing  is  to  sing,  the  above  process  should  yield  results. 

The  Latin  syllables,  which  are  so  generally  used  and  give 


303 

good  results,  unfortunately  do  not  justify  themselves  pedagog- 
ically,  since  the  latters  of  the  alphabet  could  be  used  as  easily, 
and  with  equal  justification.  Concerning  the  same,  G.  Stanley 
Hall  says,  "Tonic  Sol  Fa"  has  added  little  but  distraction.  Signs 
and  syllables  should  be  subordinated  to  what  emotionalizes.  Sol 
Fa  may  help  experienced  singers."  (488:91.)  With  the  modern 
tendency  of  writing,  it  is  doubtful  whether  these  syllables  will 
continue  to  be  the  aid  which  they  have  been  in  the  past,  in 
gaining  power  to  sight  read.  If  not  an  improvement,  a  great 
aid  would  be  the  gaging  of  intervals  by  association  with  a  known 
pitch;  for  example,  "peek-a-boo"  gives  the  interval  for  a  sixth, 
and  can  be  converted  by  association  to  the  same  interval  of  a 
new  song.  By  a  series  of  such  associations,  new  material  would 
be  reduced  to  old  ideas  in  a  different  arrangement. 

As  a  part  of  the  vocal  study,  children  in  all  grades  are  to  be 
encouraged  to  compose  and  write  melodies  of  one  or  two  measures 
whenever  they  feel  the  tendency,  and  hand  in  as  they  are  thought 
out.  They  should  be  spontaneous,  unrestricted  by  rules  or  form, 
being  used  as  a  means  of  stimulating  the  imaginative  and  creative 
faculties. 

As  the  original  work  advances  in  the  higher  grades,  some 
notice  may  be  taken  of  general  features  of  composition  as  to 
beginning  note,  ending  note,  finally  completing  broad  funda- 
mental principles  of  harmony  in  the  twelfth  grade. 

Dictation  of  melodies  should  be  given  freely  in  all  grades, 
until  the  child  can  take  down  melodies  as  readily  as  the  ordinary 
speech.  This  should  constitute  the  ear  training. 

If  a  course  in  appreciation  is  found  necessary,  it  should  begin 
with  the  song  with  a  very  evident  accompaniment,  one  easily 
understood,  which  tells  a  story,  and  which  is  entirely  within  the 
child's  experience.  After  he  has  learned  to  associate  and  listen 
for  certain  effects  in  the  accompaniment,  he  can  pass  to  harder 
compositions  in  the  style  of  program  music  without  words,  but 
those  in  which  the  story  is  unmistakable,  i.  e.  where  a  storm  is 
depicted  or  a  barcarolle.  By  gradual  cultivation,  in  this  way 
the  child  is  led  until  he  reaches  the  realm  of  absolute  music  in 
the  sonata  and  symphony  form. 

The  apt  teacher  can  correlate  this  course  with  the  English 
department  by  the  study  of  Shakespearian  songs,  Grieg's  Peer 
Gynt  Suite,  or  any  other  English  classic  which  has  been  set  to 
music  by  a  standard  composer. 

The  songs  of  Schubert  and  Schumann  may  correlate  with  the 
German  department.  Masterpieces  of  the  above  nature  lend 
themselves  readily  to  other  departments  than  music,  and  studied 
in  this  way  have  a  two-fold  value,  besides  intensifying  the  bond 
of  sympathy  and  support  in  educational  lines. 

Even  the  manual  training  may  be  of  service  by  having  the 
children  make  models  of  different  instruments  in  orchestral  study. 


304 

This  plan  is  especially  advisable  when  changing  voices  give 
warning  that  the  usual  work  of  the  chorus  must  cease  for  the 
time  being. 

Correlation  may  be  made  with  art  in  painting  or  sketching, 
by  portraying  the  mood  of  the  piece,  or  even  by  a  descriptive 
essay.  The  reader  can  see  how  valuable  this  course  may  be. 
which  is  now  more  or  less  of  a  farce  in  high  schools. 

Both  history  of  music  and  biography  may  be  placed  in  the 
above  course  in  an  interesting  manner.  Study  of  the  works  used 
in  the  orchestra,  the  composers'  lives,  and  other  points  of  interest 
may  come  in  here  also. 

•  A  repetition  and  presentation  of  the  financial  basis  of  the 
system  follow  in  concise  form: 

SCHOOL  OF  ONE  HUNDRED. 

Usual  salary  for  vocal  work $25  a  month 

Income  for  perhaps  one  hundred  pupils 
one  lesson  a  week,  with  a  possibility 
of  some  studying  more  than  one  ap- 
plied subject  at  15  cents  a  lesson,  for 

a  semester $2.70 

Total  sum 60 

Possible  salary  for  orchestra  training 5        " 


Total $90  a  month 

Only  $25  a  month  coming  out  of  the  school  fund.  If  twelve 
pupils  are  instructed  in  an  hour's  time,  this  brings  $1.80  an 
hour,  which  is  more  than  a  generally  trained  teacher  need  expect 
in  smaller  towns  of  the  west  and  central  west.  Should  she 
receive  $1.50  per  hour,  thirty  cents  of  every  teaching  hour,  or 
two  and  one-half  cents  a  lesson,  might  be  turned  into  a  music 
fund.  For  one  hundred  lessons  a  week  $45  would  pass  into  such 
a  treasury  each  semester,  such  to  be  used  for  cantatas,  orchestral 
scores,  purchase  of  automatic  players  and  rolls,  all  such  to  be 
the  property  of  the  school.  This  would  leave  the  music  instructor 
with  a  salary  of  $80  a  month,  and  ample  funds  with  which  to 
procure  materials,  and  this  too,  in  a  very  small  school  as  a  unit, 
allowing  a  minimum  salary  of  $720  a  year.  Practically  any 
school  could  undertake  such  a  plan  without  great  financial  risk. 

It  is  further  recommended  that  classes  be  so  formed  either 
after  school  hours  or  on  Saturday,  that  the  rural  population  may 
be  able  to  get  such  instruction  in  the  village,  and  receive  credit 
for  the  same,  in  this  way  increasing  numbers  and  funds  for 
procuring  better  teachers.  A  combination  of  several  small  towns 
would  secure  two  or  more  excellent  teachers.  Consolidated 
school  districts  should  not  experience  any  difficulty  with  such 
a  plan. 

The  tuition  proposition,  which  is  purposely  put  as  low  as 
possible,  may  be  abandoned  in  the  course  of  a  year  or  two,  as 


305 

soon  as  an  estimate  can  be  made  of  the  number  taking  such  work, 
and  a  good  salary  paid  outright,  with  a  corresponding  slight 
raise  of  the  school  levy, 

There  are  many  reasons,  however,  why  the  small  tuition  is 
convenient;  it  leaves  a  distinct  fund  for  musical  purposes,  it 
permits  talented  music  pupils  to  study  several  lines  without 
injustice  to  others,  since  a  slight  fee  is  paid  for  each  branch 
studied;  furthermore,  after  children  have  been  well  started  in 
the  routine  work  of  such  class  instruction,  classes  may  be  in- 
creased in  size  and  the  tuitions  can  fall  as  low  as  five  cents  a 
lesson.  With  the  present  attitude  toward  music,  parents  are 
more  liable  to  exact  good  work  if  -they  pay  a  sum,  even  though 
slight,  t 

It  is  inferred,  of  course,  that  credit  be  allowed  just  as  in 
other  studies. 

It  is  recommended,  at  all  times,  that  poor  children  be  allowed 
to  register  free,  or  for  whatever  they  can  pay. 

In  case  of  talented  children  where  there  is  opposition  at 
home,  a  suggested  plan  is  to  exact  some  work  about  school,  as  a 
compensation  for  the  instruction.  It  is  further  suggested  that 
all  such  concessions  be  a  private  consideration  for  the  school 
board,  since  most  poor  children  are  sensitive,  and  would  not 
accept  assistance  publicly  given. 

The  tuitions  for  such  a  system  should  go  into  a  separate 
fund,*  not  the  general  school  treasury,  and  should  be  cared  for 
by  the  school  board,  the  teachers's  pay  coming  entirely  from  the 
same  and  will  be  larger,  as  a  larger  number  of  children  study 
applied  branches,  and  also  as  the  teacher  has  ability  to  teach 
several  applied  branches  in  a  practical  way.  The  usual  vocal 
salary  can  be  added  without  board  opposition,  according  to  above 
plan,  thus  increasing  the  salary. 

After  interest  and  enthusiasm  has  been  aroused  in  the  children, 
so  that  their  music  study  is  as  much  a  matter  of  course  as  their 
reading,  the  instructor  may  have  assistants,  perhaps  even  fr.m 
talented  high  school  music  students,  thereby  keeping  down  the 
expenses. 

What  has  been  outlined  in  the  course  for  grades,  presupposes 
that  the  instruction  is  presented  in  conformity  with  child  develop- 
ment. That  is,  memory  work  is  emphasized  while  that  function 
is  most  active,  ear  training  is  pursued  prominently  before  ten 
years  of  age,  at  which  time  sensitiveness  to  pitch  ceases  to  increase 
and  becomes  a  constant.  (402.) 

At  the  same  time,  wide,  general  experience  with  children's 
songs,  and  a  ready  but  superficial  knowledge  of  ensemble  in 

*This  is  a  point  worth  consideration,  since  school  boards  usually  seem  in 
debt,  and  in  case  of  financial  shortage,  musical  instruction  would  suffer  first. 
Orchestral  scores,  piano  players,  rolls  and  operas  are  highly  necessary  for 
success,  hence  the  necessity  of  a  definite  fund. 


306 

orchestra  is  being  gained.  During  these  years  in  the  public 
school,  the  child's  musical  mind  is,  as  it  were,  a  vast  store  house 
where  he  is  putting  in  many  and  varied  musical  experiences. 
The  whole  field  of  educational  experiences  are  passing  before 
him  in  these  days,  and  in  a  little  while,  he  will  select  what  appeals 
most.  Hence  it  is  of  great  importance  that  this  field  be  enlarged 
to  its  utmost  capacity,  leaving  no  phase  untouched. 

For,  it  must  be  remembered,  we  are  training  not  only  future 
educators,  statesmen,  citizens,  and  teachers,  but  also  shaping 
the  lives  of  coming  musicians,  composers,  performers,  and  con- 
ductors. How  comprehensive  then  must  be  a  system  which  will 
do  the  best  for  each  child  during  this  period!  When  viewed 
from  this  standpoint,  specialization  in  any  line  whatever,  even 
where  marked  ability  is  shown,  seems  wrong. 


SUB-CHAPTER  2. 
HIGH  SCHOOL. 

With  these  thoughts  in  mind,  the  routine  work  of  the  grades 
merges  into  the  high  school  period  with  no  perceptible  break, 
except  for  those  variations  made  necessary  by  approaching 
adolescence,  and  changing  mental  and  physical  conditions.  The 
process  may  be  likened  to  a  stream  which  widens  out  into  the 
river  of  adolescence,  becoming  broader  and  deeper  and  more 
significant,  until  it  reaches  the  ocean,  which  typifies  the  uni- 
versity, and  where  the  first  great  difference  enters.  Here,  the 
final  decisions  and  preparation  for  life  work  receive  more  serious 
consideration.  Here  specialization  begins. 

It  behooves  the  teacher  then,  to  see  to  it  that  he  has  builded 
well,  and  that  the  preparation  for  the  supreme  moment  of 
specialization  may  stand  the  test  which  the  youth  will  put 
upon  it. 

If  the  children  have  been  broadly  trained  in  the  grades,  as 
has  been  specified  earlier,  they  will  reach  the  high  school  period 
with  wide  acquaintance  and  a  love  for  the  best  masterpieces  in 
songs  and  operas,  as  demonstrated  in  chorus  work,  and  by  the 
aid  of  the  piano  player.  They  will  have  gained  practical  knowl- 
edge of  orchestral  training,  and  general  ability  to  perform  on 
several  instruments.  Not  an  interesting  type  for-  the  artist  or 
conductor,  to  be  sure,  but  one  whose  real  value  can  hardly  be 
overestimated,  in  considering  the  kind  of  musical  training  which 
is  best  for  all. 

Presuming  that  class  work,  as  outlined  for  the  grades,  has 
been  going  on  for  all  sorts  of  applied  branches,  the  children  will 


307 

have  reached  considerable  ability  to  perform  even  in  the  orchestra, 
and  such  work  in  the  high  school  can  begin  to  take  on  more 
finish  and  more  artistic  polish.  Operas  and  symphonies  may  be 
studied  from  a  more  critical  standpoint  as  to  the  author's  message, 
and  his  manner  of  conveying  it.  Satisfactory  solo  work  for 
voice  or  orchestral  instruments  may  begin  to  be  cultivated  with 
considerable  satisfaction. 

The  informal  composing  of  short  phrases  which  should  have 
been  going  on  all  these  years,  may  now  take  on  a  more  dignified 
aspect,  but  without  strict  rules  of  harmony.  Moods  of  joy  and 
sadness,  of  wild  nature  scenes,  or  purely  imaginative  creations 
may  be  worked  out  in  the  daily  original  exercises  and  dictation. 
In  a  simple  way,  by  giving  some  of  the  fundamental  harmonies, 
the  children  can  be  encouraged  to  write  a  few  measures  for  the 
class  in  chorus  work,  or  a  nature  sketch  for  the  orchestra.  Such 
a  definite  aim  will  produce  astonishing  results  in  this  line. 

The  real  aim  at  this  point  is  not  specific  knowledge  or  tech- 
nique, but  an  attempt  to  gain  the  most  power  possible,  stimulat- 
ing keen  interest  and  touching  the  whole  musical  nature  at  every 
boundary.  The  plastic  clay  is  at  its  best,  and  every  change  in 
its  moulding  must  be  definite  and  sure.  Imaginative  and  creative 
ability  must  be  expanded  to  "their  utmost,  and  enough  material 
left  to  keep  it  nourished  and  growing.  Mechanical  skill,  dexterity 
and  versatility  in  the  study  of  all  sorts  of  instruments,  now  have 
their  best  period  of  development.  The  skill  of  the  future  artist, 
and  the  dreamy  imagination  of  the  creator  of  masterpieces,  are 
now  fostered  unobtrusively,  while  many  other  lines  of  develop- 
ment go  along  side  by  side  upon  the  curriculum. 

This  period  is  the  real  danger  for  the  true  artist,  and  marks  the 
time  when  school  connections  are  likely  to  be  severed  for  what  he 
holds  most  dear.  Encouraged  by  teachers  and  friends  who  rejoice 
in  his  talents,  all  other  school  interests  may  diminish  in  com- 
parison. (The  increasing  numbers  who  follow  this  course  is 
again  emphasized,  and  wholly  on  account  of  the  modern  school 
system,  which  fails  to  provide  for  all  of  its  children.  Music  teachers 
are  doubtless  most  to  blame  in  this  respect,  often  for  purely 
financial  gain.) 

Now  is  the  golden  opportunity  for  enriching  the  musical 
curriculum,  and  in  surrounding  the  musical  child  with  every 
opportunity  for  this  larger  development.  He  must  be  led  to  see 
the  importance  of  his  art  from  the  higher  standpoint  of  the 
student,  and  of  the  scholar.  He  must  be  encouraged  to  go  into 
the  mythology  and  the  poetic  settings,  which  are  the  background 
of  our  finest  symphonies  and  musical  dramas.  Now,  very  fit- 
tingly, he  may  draw  lessons  from  a  study  of  the  lives  of  Beet- 
hoven, Schumann,  and  many  others,  and  by  so  doing  realize  the 
possibilities  of  a  broad  culture  and  true  musicianship. 

If  the  grade  instruction  has  been  well  and  intelligently  con- 


308 

ducted,  the  high  school  period  will  contain  no  more  than  ordinary 
difficulties,  and  the  talented  musical  child  will  be  saved  and  kept 
in  a  growing  educative  condition. 

In  a  broadly  general  way  the  more  fundamental  principles  of 
harmony  can  be  mastered  in  the  high  school,  so  that  the  student 
is  in  a  position  to  enter  upon  the  study  of  counterpoint  and 
composition  immediately  upon  his  advent  into  the  university. 

It  would  seem  that  the  course  of  most  of  our  high  school 
teaching  in  this  respect,  is  a  feverish  anxiety  to  put  something 
dignified  in  music  upon  the  curriculum,  and  a  resultant,  cold 
mechanics  of  harmony,  which  is  repulsive  to  the  mind  of  the 
adolescent.  Before  he  can  think  a  pitch,  the  formality  of  chord 
progression  is  thrust  upon  him  with  brutal  insistence,  by  an  all 
too  ignorant  music  teacher.* 


SUB-CHAPTER  3. 
UNIVERSITY. 

If  all  these  various  lines  of  growth  have  been  stimulated,  the 
vast  army  of  both  musical  specialists  and  those  seeking  broadly 
cultural  knowledge,  will  enter  the  higher  institution  of  learning, 
the  university,  in  prime  condition  for  the  final  stage  of  develop- 
ment, specialization  of  the  highest  type.  With  such  a  system 
of  development,  the  pitiful  compromises  which  our  universities 
make  in  seeking  to  bridge  over  fatal  under  training,  or  lack  of 
any  training  in  musical  lines,  would  soon  be  a  thing  of  the  past. 
Only  by  some  such  system  of  musical  instruction,  which  is  un- 
broken from  the  grades  to  the  senior  year  in  the  university,  can 
our  great  musical  specialists  take  their  rightful  place  along  side 
the  educational  leaders  of  the  day,  and  only  so,  can  they  realize 
the  highest  fruits  of  their  teaching,  where  every  possibility  of 
mental  development  may  be  realized  in  the  student.f 

For,  it  is  undeniably  true,  no  great  teacher  is  willing  nor  is  he 
happy  in  teaching  pupils  of  half  formed,  undeveloped  mental 
conditions,  at  any  price,  even  in  the  greater  universities.  To 
them  their  art  is  real  and  alive,  and  they  allow  no  compromise. 
This  loses  for  the  musical  student  in  the  university  as  it  now 

*  Monthly  conferences  to  assist  those  who  need  help,  as  well  as  frequent 
informal  recitals  should  be  held  all  through  the  grades  and  high  school,  in 
order  to  give  the  personal  touch  which  makes  instruction  so  vital. 

fAn  excellent  feature  in  one  or  two  universities  is  the  requirement  of  a 
certain  number  of  college  hours  of  all  who  take  musical  work.  This  avoids 
the  danger  of  harboring  an  idle  class  seeking  applied  subjects  at  state  expense. 


309 

exists,  the  opportunity  of  coming  in  contact  with  men  of  great 
musical  caliber,  and  men  of  achievement  in  such  lines  of  work. 

If  the  student  has  had  specific  training  in  the  educational 
system,  as  indicated,  it  will  not  be  necessary  to  jumble  elementary, 
intermediate  and  advanced  training  in  music  upon  the  curri- 
culum, thus  making  his  course  predominantly  musical,  to  the 
exclusion  of  many  scholastic  subjects  very  valuable  to  the 
musician.  If  carefully  directed  study  of  music  has  been  pursued 
in  the  grades  and  high  school,  not  over  a  fourth  of  the  course 
should  consist  exclusively  of  musical  branches.  He  will  have 
had  eight  or  ten  years'  training  upon  his  major  instrument,  with 
considerable  skill  of  a  minor,  and  perhaps  acquaintance  with 
one  or  two  orchestral  instruments. 

In  vocal  work,  he  will  have  had  acquaintance  with  all  the 
best  masterpieces  of  song  and  opera,  from  performance  or  by  aid 
of  the  mechanical  player. 

If  the  student  is  to  be  a  specialist,  and  his  under  training  has 
been  good,  three  hours  of  practice  a  day  should  suffice  for  his 
specialty.  If  this  is  piano  or  voice,  some  minor  study  should 
be  an  orchestral  instrument,  and  training  in  orchestra  go  on  just 
as  it  did  in  the  grades.  If  the  student  is  very  adaptable,  he  may 
play  one  or  two  such  instruments  fairly  well  and  no  further 
study  necessary,  the  ensemble  being  used  as  aesthetic  training.* 

After  the  students  have  passed  through  the  grades  under 
such  musical  discipline  as  described,  the  symphony  orchestra 
should  reach  a  high  stage  of  artistic  perfection,  and  be  a  source 
of  joy  to  the  most  fastidious  conductor.  The  material  should 
be  forthcoming  also  for  excellently  drilled  choruses  and  choral 
unions. 

After  consideration  of  the  applied  major  and  minor  subjects, 
musical  history  claims  the  attention  and  should  be  both  com- 
prehensive and  broad,  following  the  same  plan  as  is  pursued  in 
American  or  European  history,  which  leave  no  phase  of  historical 
evolution  undeveloped. 

The  theory  work,  which  before  this  has  been  similar  for  all, 
with  the  aim  of  developing  imagination  and  creative  ability,  may 
now  divide  into  two  distinct  lines,  one  leading  into  intensive 
work  of  composition  for  the  one  so  gifted,  and  the  other  taking 
up  the  study  of  educational  problems  in  musical  life,  especially 
as  applied  to  its  place  upon  the  modern  curriculum.  This  is  a 
rich  and  practically  untouched  field,  when  we  view  it  in  the  light 


*Both  class  and  private  instruction  should  be  offered  in  the  university, 
the  former  for  those  seeking  general  knowledge,  the  latter  for  professionals  or 
very  talented  students,  for  which  a  heavier  laboratory  fee  may  be  expected. 
It  is  presumed  that  artists  of  the  best  talent  available  are  secured  for  the 
really  talented,  otherwise  these  students  are  justified  in  seeking  instruction 
elsewhere,  just  as  they  do  now  in  some  educational  institutions  where  mediocre 
talent  is  offered. 


310 

of  possible  research  work  in  the  psychological  laboratory,  in- 
dividual tests  as  applied  to  the  musical  powers,  or  even  in  the 
remoter  lines  of  historical  development  or  study.  The  mere 
working  out  of  a  satisfactory  course  for  a  chair  of  music  is  im- 
portant enough  to  occupy  the  attention  of  the  writer  of  a  doctor's 
thesis. 

Acoustics,  which  may  justly  claim  next  place  in  the  attention 
because  of  its  relation  to  music,  need  not  be  a  light  course  con- 
cocted for  music  students,  but  a  good  general  course  in  physics, 
which  will  offer  mature,  mental  discipline. 

At  least  two  years  of  French  and  German  should  be  studied, 
in  order  to  gain  a  near  acquaintance  with  French  and  German 
life,  which  have  produced  world  masterpieces  and  artists  in  the 
realm  of  music.  A  study  of  German  myths  and  legends  under- 
lying the  "Ring  of  the  Niberlungen"  is  very  necessary  to  an 
understanding  of  the  operas,  and  modern  German  music.  Eng- 
lish literature  also  should  command  some  attention  from  the 
musical  student,  as  well  as  general  knowledge  of  fine  arts. 

An  introductory  course  in  both  American  and  European  his- 
tory should  not  be  omitted,  since  one  of  the  common  tendencies 
of  a  musical  training  is  a  remoteness  from  real  life  activity. 

The  course  should  be  heavily  ballasted  with  psychology, 
philosophy,  logic,  and  a  touch  of  sociology  in  its  broader  aspects, 
if  the  student  is  to  be  conversant  with  human  thought  and 
action,  and  especially  if  he  is  to  be  an  active  member  in  working 
out  the  many  difficult  problems  in  research  work. 

Lastly,  but  by  no  means  least,  is  the  strong  correlation  which 
should  be  made  with  the  educational  department,  in  order  that 
the  student  may  be  turned  out,  fitted  to  train  in  the  best  manner 
possible,  those  who  come  in  contact  with  him  after  college  days 
are  ended.  For,  whether  consciously  or  unconsciously,  all  will 
be  teachers  in  more  or  less  degree  in  every  walk  of  life,  even  though 
limited  to  the  family  circle.  It  is  in  this  department,  that  a 
knowledge  of  all  the  vital  problems  in  modern  educational  life 
may  be  studied.  For  this  reason,  a  system  which  fails  to  include 
this  study,  omits  the  opportunity  for  development  which  is  both 
fundamental  and  highly  practical  as  well.  Child  study  is  pos- 
sibly as  vital  to  the  music  student  as  to  the  teacher  in  scholastic 
lines,  for  not  only  is  the  subject  very  complex,  but  psychic  con- 
ditions must  be  taken  into  account. 

Up  to  this  point,  the  course  has  been  considered  for  the  music 

specialist,  and  the  broadly  cultural  in  the 

NORMAL  TRAINING    university  course,  for  the  music  lover  and 

student  body.     It  yet  remains  to  designate 

the  sort  of  training  which  should  be  given  the  teacher  who  is  to 

instruct  in  the  grades  and  high  school,  as  outlined  in  these  pages. 

At  the  outset,  the  teacher  must  do  more  extensive  and  less 
intensive  study  in  the  chair  of  music,  if  he  is  to  increase  his  earn- 


311 

ing  power,  and  at  the  same  time  gain  the  scholastic  training 
which  shall  make  him  a  capable  teacher.  It  is  unnecessary  to 
state  that  the  course  should  be  four  years  in  length. 

The  work  in  musical  lines  may  be  generalized  as  follows: 
It  is  supposed  that  a  general  musical  knowledge  is  present  of  a 
more  or  less  elementary  type.  For  ordinary  teaching  in  fair 
sized  towns,  the  specialization  should  not  be  too  great,  since 
such  would  command  a  higher  salary. 

Two  years  of  private  work  in  voice  should  give  ample  prepara- 
tion for  a  teacher  under  most  circumstances,  while  at  least  three 
piano  grades  are  necessary.  Two  years  of  violin  should  be 
studied,  in  order  to  give  good  elementary  teaching  ability.  Six 
months'  study  upon  one  instrument  in  each  of  the  brass  and 
wood  wind  choir  will  place  the  teacher  in  a  position  where  he 
can  intelligently  superintend  the  instruction  given  by  members 
chosen  from  a  local  band  if  it  is  a  small  place. 

It  is  true  that,  with  several  applied  branches  in  a  school 
system,  no  one  teacher  could  herself  give  the  entire  instruction. 
On  account  of  expense,  it  is  highly  desirable  that  local  talent  be 
utilized  when  possible.  It  is  also  true  that  the  head  teacher  must 
have  general  knowledge  of  all  classes  of  instruments  taught,  if 
she  is  to  direct  intelligently.  Several  years'  teaching  and  summer 
sessions  at  some  university  well  equipped  in  the  study  of  applied 
branches,  should  give  a  teacher  splendid  adaptability. 

Such  summer  drill  and  study  should  not  be  regarded  as 
superfluous,  since  all  regular  grade  and  high  school  teachers 
regard  this  review  and  drill  as  an  essential  part  of  their  profession. 
It  is  only  the  private  music  teacher  who  graduates,  settles  down 
to  her  teaching,  and  in  the  large  majority  of  cases,  may  be  found 
twenty  years  later  just  at  the  point  where  she  left  off  musical 
study,  and,  furthermore,  instilling  twenty  year  old  ideas  into  the 
minds  of  our  modern  children  upon  a  credit  basis. 

All  instruction  should  be  from  the  teaching  standpoint,  and 
not  for  performance  in  itself,  or  for  virtuosity.  If  the  teacher 
performs  well,  incidentally,  so  much  the  better,  but  this  is  not 
the  ultimate  aim. 

Her  work  in  theory  should  lie  along  the  lines  best  suited  to 
develop  the  child's  creative  ability  and  imagination,  and  her 
work  in  orchestration  should  not  be  composition  essentially,  but 
the  practical  scorin  of  songs  and  tunes,  and  their  adaptability 
to  the  child  orchestra. 

The  teacher  should  learn  how  to  balance  the  village  orchestra, 
with  many  parts  lacking.  While  not  an  expert  performer  on 
any  one  instrument,  she  can  be  broadly  informed  as  to  the 
possibilities  for  children,  and  can  do  very  effective  work  in  con- 
ducting the  juvenile  orchestra. 

Naturally,  the  teacher's  preparation  should  partake  solidly  of 
educational  courses  in  child  development  and  adolescence,  as 


312 

well  as  an  intimate  study  of  research  work  in  psychology  and 
philosophy. 

Practice  teaching  and  observation  should  form  one  of  the 
most  valuable  lines  of  the  training. 

In  general,  two  years  should  suffice  for  the  specific  musical 
preparation  just  outlined  (but  naturally  spread  over  the  entire 
four  years),  leaving  two  for  such  college  study  as  indicated  for 
general  university  music  students.  The  most  helpful  branches 
have  just  been  given.  For  the  teacher,  biology  may  be  included 
very  reasonably,  as  of  great  practical  benefit. 

If  the  possible  teacher  can  aim  to  gain  practical  teaching 
ability  in  one  line  of  college  study,  so  much  the  better.  Wash- 
ington state  high  schools  are  now  sending  out  letters  to  institu- 
tions, asking  for  music  teachers  with  such  ability. 

In  all  the  preparation  for  musical  teaching,  it  must  be  borne 
in  mind,  that  the  amount  of  specialization  depends  upon  the 
size  of  town  where  the  teaching  will  be  done,  upon  the  general 
ability,  and  even  upon  the  locality.  The  system  can  only  be 
indicated  in  a  broad  way.  Where  musical  training  has  been 
well  directed  below  the  university,  there  is  opportunity  to  make 
an  excellent  teacher. 

Beyond  entrance  requirements,  much  Greek  or  Latin  may 
not  be  advisable,  since  they  give  a  remoteness  from  practical 
life,  which  is  necessary  to  offset  in  the  training  of  the  musician 
as  we  know  him  today.  The  vital,  alive,  active  studies  are  the 
best  suited  for  the  end  in.  view,  which  is  to  give  the  teacher  a 
well  rounded  development,  best  calculated  to  impart  valuable 
and  practical  information  in  the  class  room. 

Such  in  general  is  the  writer's  judgment,  and  this  system 
may  make  some  slight  appeal  to  the  earnest  reader,  seeking  a 
remedy  for  existing  evils.  That  it  is  wholly  inadequate,  she 
justly  feels,  but  it  may  be  the  means  of  revealing  one  simple 
truth  at  least. 

The  courses  have  not  been  definitely  outlined,  except  by 
suggestions  and  purposely  so,  since  to  lay  down  dogmatic  rules 
for  any  course  of  study  leads  to  conformity,  which  is  directly 
at  variance  with  true  educational  growth.  Each  individual 
would  necessitate  a  different  outline  of  work,  hence  the  im- 
possibility and  uselessness  of  such  a  plan.  Then  too,  conditions 
differ  very  materially  in  different  localities.  If  the  idea  takes 
root,  the  plan  follows  naturally. 


313 

GENERAL  CONCLUSIONS 

Before  leaving  the  subject,  it  is  worth  while  to  glance  at  the 
music  curriculum  as  we  find  it  upon  the  university  program  of 
today.  That  it  does  not  suffice  is  very  evident.  The  courses  are 
eminently  memory  work,  language,  literature,  etc.,  what  might 
be  termed  ''frills"  in  a  girls'  boarding  school.  Subjects  that 
require  real  brain  fibre  and  thinking  are  religiously  avoided,  while 
many  musical  phases  are  included,  which,  while  important,  still 
lack  the  mental  development  characteristic  of  some  of  the  schol- 
astic branches.  It  must  be  remembered  that  there  is  a  limit  to 
the  number  of  hours  included  in  the  university  curriculum. 

A  hasty  survey  of  the  courses  in  the  university  section  reveals 
the  fact  that  the  music  student  is  still  regarded  as  mentally  not 
up  to  the  college  standard.  May  it  not  be  true,  however,  that 
weak  courses  and  weak  departments  attract  an  undesirable  class 
of  students,  desirous  of  obtaining  a  degree  with  the  least  ex- 
penditure of  energy?  It  is  very  evident  that,  when  our  uni- 
versities generally  offer  equally  strong  courses  in  this  depart- 
ment, the  output  of  musical  graduates  from  those  institutions 
will  compare  favorably  with  other  graduates,  nor  will  capable 
teachers  be  lacking  for  imparting  musical  instruction  in  our 
public  school  system. 

It  is  true  that  the  artist  has  scorned  to  couple  music  and  the 
practical,  and  hence,  he  has  not  been  convincing  to  the  educator. 
Both  sociology  and  the  laboratory  refute  the  argument  that  the 
art  is  an  ornament,  and  proceed  to  haul  it  from  its  pedestal 
where  the  artist  has  consigned  it,  insisting  that  it  line  up  with 
other  studies  upon  the  school  program. 

Music  has  made  little  headway  in  the  college,  for  the  artist 
had  one  idea  in  mind,  the  public  had  another.  If  the  real  worth 
of  music  as  an  art  is  to  be  realized,  the  school  system  is  bound 
to  take  it  over.  It  must  do  so,  if  it  is  to  look  to  the  welfare  of 
its  citizens  in  the  best  manner. 

The  time  has  passed  when  weakness  and  ignorance  on  the 
part  of  the  artist,  are  excused  on  the  grounds  of  artistic  tempera- 
ment. Modern  thought  demands  that  that  same  temperament 
be  rigidly  schooled  by  discipline,  and  the  college  must  now  open 
wide  its  doors  to  receive  the  artist  as  well  as  the  student.  This 
was  not  always  the  case,  and  but  points  to  the  great  change 
which  a  few  years  have  wrought  in  the  public  mind. 

A  great  art  must  be  universal  in  appeal,  and  it  is  the  function 
of  a  liberal  education  to  furnish  feelings,  facts,  and  ideals  as  well. 
The  university,  more  than  any  other  one  institution,  has  always 
been  intellectual  in  its  teaching.  It  values  appreciation  more 
than  expression,  and  is  after  knowledge  not  application.  It  is 
interested  in  sense  experiences  only  as  the  basis  of  generalizations, 
not  for  re-expression.  It  would  scorn  to  treat  solely  of  pleasure 
and  feeling,  nor  could  it  legitimately  do  so.  The  university  is 


314 

reflective  and  scholarly  rather  than  artistic  and  emotional.  It  im- 
parts ideas,  but  does  not  aim  at  skill  of  itself,  or  superficial  display. 

If  the  universities  are  to  hold  to  ancient  traditions,  music  must 
make  a  different  entrance  than  at  present.  The  broadening  out 
of  educational  ideals  gives  the  art  a  chance,  while  the  environ- 
ments within  the  college  walls  are  such  as  to  insure  a  sure  and 
steady  growth,  when  once  the  foothold  has  become  permanent, 
and  the  study  has  taken  a  definite  form. 

When  one  stops  to  consider,  the  concessions  made  to  chairs  of 
music  on  the  part  of  universities  are  surprising,  and  can  only 
be  because  of  a  realization  of  its  true  value.  Surely,  the  nature 
of  school  music  instruction,  or  the  results  of  the  private  music 
teachers  have  not  contrived  to  institute  this  change. 

The  need  is  for  more  people  who  are  concerned  in  the  whole 
of  music,  its  appreciative,  its  creative  and  its  interpretative 
aspects,  and  who  appreciate  it  both  as  a  cultural  and  a  professional 
study.  In  a  word,  we  need  intelligent  musicians,  musicians  who 
have  been  brought  into  close  touch  with  the  civilization  that 
encloses  them.  Serious  students  who  do  not  favor  one  method, 
but  who  test  and  compare  all,  and  by  a  sifting  process  emerge 
with  an  intelligent  survey  of  the  entire  field. 

Such  seems  to  be  the  need,  and  music  has  a  value  in  modern 
life  which  it  never  had  before.  Peculiar  social  and  economic 
mditions  make  its  study  strikingly  necessary  in  this  age. 

Now,  if  ever,  the  musician  must  justify  his  right  to  a  dignified 
position  within  the  school  system,  and  the  schools  must  in  turn, 
make  every  effort  to  create  the  proper  environment  for  those 
richly  endowed  by  nature.  Whether  this  can  be  done  remains 
to  be  tested  but  it  should  be  possible. 

The  musician  must  realize  what  an  acquisition  he  may  become 
to  his  profession,  if  he  can  but  get  the  true  perspective.  The 
need  of  scholarly  musicians  was  never  felt  more  keenly  than 
today;  musicians  who  are  capable  of  dignified  research,  who 
can  state  truths  and  fundamental  principles,  not  voice  opinions. 
Educators  very  generally  feel  this  need,  are  ready  to  meet  the 
conditions,  and  are  watching  the  transition  with  the  keenest 
interest.  A  transition  which  shall  make  a  foundation  in  the 
new  world  for  the  future  American  music.  Nowhere  can  this 
be  so  intelligently  done,  even  more  probable,  never  will  be  real- 
ized, except  through  such  sponsorship  as  the  university  sees  fit 
to  give.  That  these  institutions,  the  top  of  our  educational 
system,  and  our  crowning  glory,  should  attempt  the  solution  is 
not  only  possible,  but  very  rational. 

WE,  AS  A  PEOPLE,  HAVE  COME  TO  REALIZE  AT 
LAST,  THAT  NATIONAL  MUSIC  IS  THE  EMOTIONAL 
EXPRESSION  OF  A  MUSIC  LOVING  NATION,  AND 
THAT  MUSIC  WHICH  IS  TRULY  GREAT  SPRINGS 
FROM  THE  HEARTS  OF  THE  COMMON  PEOPLE. 

(END) 


PART  IV. 

BIBLIOGRAPHY. 


317 


DIVISION  I. 
REPORTS  OF  STATE  SUPERINTENDENTS 

NORTH  ATLANTIC  DIVISION 
Maine 

1.  Department  of  Public  Instruction.  .1912:19,21.     1913. 

2.  School  Laws  of  Maine 1913:  Sec.  59,  p.  25. 

New  Hampshire 

3.  Department  of  Public  Instruction. .  1911-12. 
Vermont 

4.  Vermont  School  Report •.  .  .  .1912:81,82,85,93,129,296,322, 

348,  374,  400,  426,  452,  478,  514, 
542,568,604. 
Massachusetts 

5.  Report  of  Board  of  Education 1911-12:39,40.     1912-13:43,128, 

134. 

6.  Report  of  School  Committe,  Boston .  1911 :20,24,  School  Doc. 

1912:71.     1913:91.    1914:44. 

7.  Leaflet,  Board  of  Education,  Boston .  1914 :4. 
Rhode  Island 

8.  Rhode  Island  School  Report 1909:71,72,81,116.     1910:195. 

1911 :295,296,303,348,352. 
1912:126,130. 
Connecticut 

9.  Report  of  Conn.  Board  of  Education.  1910-1 1:255.    1912-13:213,516. 

New  York 

10.  State  Educat.  Dep't  of  New  York..  1908:326.    1909:159.    1910:391. 

1912.     1913:143,1097. 

New  York  Report  of  Board  of  Ed.  .Vol.  3,  1910:406. 
New  Jersey 

11.  New  Jersey  School  Report 1900:211,288,295.  1911:164,180, 

225,247,250.       1912:26,143,163. 
1913:79,82,139,160,187,424. 

12.  Board  of  Education,  Newark 1909-10:180. 

Report  of  Board  of  Education 1911:48. 

Pennsylvania 

13.  Report  of  State  Sup't  of  Public 

Instruction  .  .  .  .1909:224,226,239,258,262.  1911: 

19, 48, 55, 65, 71, 90, 109, 137, 148, 
163,165,182,187,193,204,209,210, 
219,232,249,276,292,295,303,306. 
1913:22,39,58,75,96,100,108,109, 
127,153,163,170,188,200,204,241, 
258,272,279,283,315,328,331,340, 
353,354,358. 
SOUTH  ATLANTIC  DIVISION 

Delaware 

14.  Report  of  School  Board  of  Education.  1910. 
School  Laws  of  Delaware 1898-1908:25. 

Maryland 

1 5.  Md.  House  and  Senate  Documents . .  1911 : 137, 144, 193, 246, 266, 333, 

378. 

16.  Maryland  Public  Schools 1912:144,227. 


318 


1 7 .  Report  of  C  ommissioner  of  E  ducat . 

Maryland  Public  Schools 

Virginia 

18.  Report  of  State  Sup't  of  Public 
Instruction . . 


19.  Virginia  School  Report 

20.  Report  of  State  Sup't  of  Public 
Instruction . . 


21.  Form  X  No.  46.    Text  Books  and 
Educational   Appliances   for   the 
Public  Schools 

West  Virginia 

22.  Report  of  State  Board  of  Regents. 


23. 


High 


Course   of   Study   for   the 
Schools  of  West  Virginia .  .  . 

24 .  Course  of  Study  for  the  Elementary 
Schools  of  West  Virginia 

North  Carolina 

25.  Report  of  State  Sup't  of  Public 
Instruction . . 


26.  Handbook  for  High  School  Teachers 
South  Carolina 

27.  State  Sup't  of  Education 

High  School  Manual  for  Teachers. 
South  Carolina  School  Improve- 
ment Association 

Georgia 

28.  School  Report  of  Georgia 


.  1911 : 137, 144, 193, 246, 266, 333, 
378.    1913:193.    Vol.2. 
.1912:144,227. 


.  1909-10-11 :33,298,300,306,311, 
314,324,335,338,340,342,344,590, 
592,593,599,605,606,612,614,625, 
638,832. 

.1911-12:31. 

.  1910  : 310, 316, 320, 403, 612, 614, 
625.  1911 :590,592,593,599,605. 
1912  : 297, 299, 301, 303, 304, 307, 
308,311,313,315,317. 


1912:7. 

.1911-12:27,43,46,52,54,62,68,74, 
75, 84, 102, 105, 146, 151, 177, 196, 
227,242,247,252,260,383. 

.1912:8,10,60. 
.1914:35,229. 


1908-09.  1909-10:61,61,63,64,65, 
68,70,135.  1910-11:7,10,11,13, 
14,17,18.  1911-12:19,20,21,27,30. 
1910.  Appended  note. 

1908.    1909.    1910.    1913. 
1911. 

Bulletin  VI.     1913. 


1910:138,167.    1912:161.    1913: 

273,297. 
Florida 

29.  Report  of  Schools 1911-12:173,218,247,252,253. 

30.  High  School  Manual  for  Florida.  .  .1912:12. 

SOUTH  CENTRAL  DIVISION 
Kentucky 

31.  Report  of  State  Sup't  of  Public 

Instruction 1910-11:115,119,163,180. 

32.  Kentucky  School  Report 1912-13:17,481,491. 

Tennessee 

33.  Report  of  State  Sup't  of  Public 

Instruction 1911-12:65,69,84,120,124,203, 

224,236,407.     1913:30,167. 
Alabama 

34.  Report  of  State  Sup't  of  Public 
Instruction 1913. 

Mississippi 

35.  Mississippi  Department  Reports 

of  Attorney-General 1911-1913:4,9,23,36,203. 


319 

Louisiana 

36.  Report  of  State  Sup't  of  Public 

Instruction 1911-12.    1912-13:79,130  Vol.  2. 

108,124,130  Vol.  3. 

37.  New  Orleans  Public  Schools, 

Report  of  Sup't 1911-12:53,76. 

Texas 

38.  Report  of  State  Sup't  of  Public 
Instruction 1912. 

Arkansas 

39.  Report  of  State  Sup't  of  Public 

Instruction 1911-12:197,240,360. 

Oklahoma 

40.  Report  of  State  Sup't  of  Public 

Education 1912  : 102, 113, 121, 123, 160, 161, 

201,214. 

NORTH  CENTRAL  DIVISION 
Ohio      . 

41.  Ohio  School  Report 1911:110,390.      1912:58,98,204, 

206,313.    1913:67,216. 

42.  Public  School  Music.    A  Manual 

for  Teachers.     Cleveland 1912:5,6. 

Indiana 

43.  Report  of  State  Sup't  of  Public 

Instruction 1910  : 190, 193, 239, 293, 323, 358, 

1911&1912:197,218,227,235,236, 
241,266,313,324,325. 
Illinois 

44.  Report  of  State  Sup't  of  Public 

Instruction .  .  1908-09:63,74,75,76,77,79,81,82, 

183.  1909-10:198,200,201,203, 
204,205,206,873.  1910-12 :379, 
535,543,552,561,577,578,592. 

45.  University  of   Illinois   School  of 

Education Bulletin  No.  6. 

46.  Proceedings  of  High  School  Con- 
ference, Nov.  23-25 1911:120. 

Bulletin  No.  9 1912:179. 

Michigan 

47.  Report  of  State  Sup't  of  Public 

Instruction 1910-11:139,185,238,266. 

1911-12:137,235,250,255,259. 

48.  Year   Book   of   Normal   College, 

Ypsilanti 1912-13:195,259,290,311.  P.138. 

Ann  Arbor  High  School 1910:7. 

Wisconsin 

49.  Department  of  Public  Instruction.  .  1908:96. 

50.  Wisconsin  Public  Documents,  Vol. 

10.    Dep't  of  Public  Instruction.  . .  1911-12:76,121. 

51.  Report  of  Board  of  School  Direc- 
tors, Milwaukee 1909:34.     1910-11:121. 

Minnesota 

52.  Sup't  of  Public  Instruction 1911-12:108. 

53.  Course    of    Study,    Minneapolis 

Public  Schools 1912-13:95.    1913-14:8,94. 

54.  Directory  of  Minneapolis  Public 
Schools..  ..1913-14:39. 


320 

Iowa 

55.  Iowa  State  Board  of  Education 1910:23,78,210,212. 

1912:168,349,434,445,488. 

56.  Iowa  School  Report 1911-12:98,434,488. 

Missouri 

57.  Public  Schools  of  Missouri 1911 : 145, 194, 302, 309, 334, 350, 

355,358,360,362,368.  1912:186, 
194,200,214,269,270,349,353,425, 
427,432.  1913:351,362,370,376, 
392. 

58.  Public  Schools  of  St.  Louis 1905.    Pamphlet.    1909-10:141, 

163,289,326.  1911-12:126.  1912- 
13:193. 
North  Dakota 

59.  Report  of  State  Sup't  of  Public 
Instruction 1910-12:55. 

South  Dakota 

60.  Report  of  State  Sup't  of  Public 

Instruction 1910-12:79,139.     1912:24,62,90, 

140. 

61 .  The  School  Laws  of  South  Dakota . .  1909 :43,77. 
Nebraska 

62.  Report  of  State  Sup't  of  Public 

Instruction 1910  :  42,  641,  661,  662,  664,  670, 

690,707,710,723,729,732,733,734, 
737. 

63.  Nebraska  Educational  Directory. .  .1912:X.     1914-15. 

64.  Nebraska  High  School  Manual.  .  .  .1914:76. 
Kansas 

65.  State  Sup't  of  Public  Instruction.  .1909-10:53.     1911-12:52,69. 

66.  Kansas     Course     of     Study    for 

Graded  Schools 1914:128. 

WESTERN  DIVISION 
Montana 

67.  Reoort  of  State  Sup't  of  Public 

Instruction. .  1910:17,18,152,154.     1912:7,61, 

107. 
Wyoming 

68.  Manual    of    the    Public    Schools, 
Cheyenne 1903. 

Colorado 

69.  Report  of  State  Sup't  of  Public 

Instruction 1911-12:26,106,147. 

Outline  of  Studies,  C olor ado  Springs  .1907:191. 
New  Mexico 

70.  Report  of  State  Sup't  of  Public 
Instruction 1910-12:71,79. 

Arizona 

71.  Arizona  School  Laws 1907:58,81. 

Utah 

72.  Report  of  State  Sup't  of  Public 

Instruction 1912  :  64, 136,  243,  253,  272,  286, 

504,515,  (19  appendix.) 
Nevada 

73.  Report  of  State  Sup't  of  Public 
Instruction 1911-12:22. 

Idaho 

74.  Report  of  State  Sup't  of  Public 

Instruction . .  .  .  1911-12 :40,43,72, 80, 86,95,97. 


321 


Washingto  n 

75.  Washington    Public    Documents. 
State  Sup't  of  Public  Instruction . . 
Messages  and  Documents 

Oregon 

76.  Report  of  State  Sup't  of  Public 
Instruction 

77 

78 

79.    Annual  Report  of  Public  Schools 

of  Portland 

California 

8 1 .    Proceedings  of  C  alif  ornia  Teachers' 
Association 

62.    Report    of   United    States    Com- 
missioner of  Education 

84.  Report  of  Education  of  Natives 
of  Alaska 

85.  The  Director  of  Education,  Philip- 
pine Islands 

86.  "Music  in  the  Public  Schools", 
Will  Earhart 

87.  Monroe,  Paul,  Professor  of  Educa- 
tion, Columbia  University  Cyclo- 
pedia of  Education. 

The  Macmillan  Co.,  N.  Y. 


1911-12:12,33,41,43. 


1909-10:97,98,101,102,150. 
1910-12:V,73,81. 
1915:61,65,72,73,75,77,82,95,96, 
103,105. 

1911:245. 


1900. 

Vol.  2,  1913:193. 
1910-11:46. 
1910:19,20,22. 
.1914:67. 

.1911. 


DIVISION  II. 
NORMAL  SCHOOL  CATALOGS. 

88.  Westneld  Normal  School,  Westfield,  Mass. 

89.  Rhode  Island  Normal  School,  Providence,  R.  I 

90.  School  of  Pedagogy,  University  of  Buffalo,  N.  Y 

91.  Keystone  State  Normal,  Kutztown,  Penn 

92.  Indiana  Normal  School,  Indiana,  Penn 

93.  State  Normal  School,  Bloomburg,  Penn 

94.  Hampton  Normal  and  Agricultural  Institute,  Hampton,  Va. 

95.  State  Female  Normal  School,  Farmville,  Va. 

96.  State  Normal  and  Industrial  School,  Greenboro,  N.  C. 

97.  Winthrop  Normal  and  Industrial  College,  Rock  Hill,  S.  C . 

98.  Peabody  Normal  School,  Nashville,  Tenn. 

99.  State  Normal  School,  Richmond,  Ky .  .  * 

100.  State  Normal  School,  Troy,  Alabama. 

101.  State  Normal  School,  Florence,  Alabama 

102.  State  Normal  School,  Prairie  View,  Texas. 

103.  Tillotson  Collegiate  and  Normal  Institute,  Austin,  Texas. 

104.  Territorial  Normal  School,  Edmond,  Oklahoma 

105.  National  Normal  School,  Lebanon,  Ohio. 

106.  State  Normal  School,  Terre  Haute,  Indiana. 

107.  .Northern  Indiana  Normal  School,  Valparaiso,  Indiana 

108.  Northern  Illinois  Normal  School,  Dixon,  Illinois 

109.  Summer  Normal  School,  Englewood,  Illinois 

110.  Cook  County  Normal  School,  Illinois 

111.  Illinois  State  Normal,  Normal,  Illinois 

112.  Abbington  Normal  College,  Abbington,  Illinois 

113.  State  Normal  University,  Normal,  Illinois 

114.  Eastern  Illinois  State  Normal,  Charleston,  Illinois. . 
11 


1910. 
1897. 
1899. 
1897. 
1910. 
1903. 


1910. 
1910. 
1914. 

1893. 


1897. 

1900. 

1893. 

1893. 

1910-11. 

1892. 

1895-96. 

1910. 


322 

115.  Western  Illinois  State  Normal  School,  Macomb,  Illinois 1910. 

116.  State  Normal  School,  Ypsilanti,  Michigan 1913:138. 

117.  Normal  School  of  Wisconsin 1897. 

118.  Oshkosh  State  Normal  School,  Oshkosh,  Wis 1904-1910. 

119.  State  Normal  School,  Platteville,  Wis 1894. 

120.  Woodbine  Normal  School,  Woodbine,  Iowa 1894. 

121.  State  Normal  School,  Cedar  Falls,  Iowa.  .  .  . , 1908. 

122.  State  Normal  School,  Warrenburg,  Missouri.' 1906. 

123.  State  Normal  School,  Maryville,  Missouri 1910. 

124.  First  District  Normal  School,  Kirkville,  Mo - .    .1911. 

125.  Standberry  Normal  School,  Standberry,  Mo 1899. 

126.  State  Normal  and  Industrial  School,  Ellendale,  N.  D 1908. 

127.  State  Normal  School,  Valley  City,  N.  D 1903. 

128.  State  Normal  School,  Madison,  S.  D 1908 

129.  State  Normal  School,  Spearfish,  S.  D. 

130.  State  Normal  School,  Kearney,  Nebraska 1911. 

131.  State  Normal  School,  Peru,  Nebr 1907. 

132.  Northern  Nebraska  Normal  College,  Madison,  Nebr 1891. 

133.  Junior  Normal  School,  Valentine,  Nebr 1904. 

134.  State  Normal,  Emporia,  Kansas 1903-04. 

135.  State  Normal  School,  Dillon,  Montana 1901-1913. 

136.  State  Normal  School,  Greeley,  Colorado 1894,  1902. 

137.  State  Normal  School,  Tempe,  Ariz 1914. 

138.  I  ewiston  State  Normal,  Lewiston,  Idaho 1907. 

139.  State  Normal  School,  Cheney,  Wash 1904. 

140.  Washington  State  Normal,  Ellenburg,  Wash 1903. 

141.  State  Normal  School,  Monmouth,  Ore. 

142.  State  Normal  School,  San  Diego,  Cal 1910. 

143.  State  Normal  School,  San  Jose,  Cal 1888. 

144.  State  Normal  School,  Chico,  Cal. 

145.  Contributions  to  the  History  of  Normal  Schools  in  the  U.  S .  .  1900. 

a.  Catholic  Normal  School St.  Francis. 

b.  New  York  College  for  Training  of  Teachers. 

c.  Boston  Normal  School. 

d.  State  Normal  School .'...' Prairie  View,  Texas. 

e.  Tillotson  Collegiate  and  Normal  Institute. .  .  .Austin,  Texas. 

f.  State  "Normal  School Monmouth,  Oregon. 

g.  State  Normal  School Natchitooches,  La. 

h.  State  Normal  School Troy,  Alabama. 

i.  Peabody  Normal  School Nashville,  Tenn. 

j.  State  Normal  School Madison,  S.  D. 

k.  State  Normal  School Kirkville,  Mo. 

1.  State  Normal  School St.  Cloud,  Minn. 

m.  State  Normal  School Ypsilanti,  Mich. 

n.  Southern  Illinois  Normal,  University Carbondale,  Illinois. 

o.  State  Normal  University  of  Illinois. 

p.  State  Normal  School Terre  Haute,  Ind. 

q.  National  Normal  School Lebanon,  Ohio. 

r.  State  Normal  and  Industrial  College Greensboro,  N.  C. 

.s.  State  Female  Normal  School Farmville,  Va.        ' 

t.  State  Normal  School Maryland. 

u.  State  Normal  Fchool Bloomburg,  Pa. 

v.  State  Normal  School New  Hampshire. 

w.  State  Normal  School Worcester,  Mass. 

x.  Potsdam  Normal  School ..  .  .New  York. 


323 


DIVISION  III. 
UNIVERSITY  AND  COLLEGE  CATALOGS  AND  MAGAZINES. 


NORTHERN  ATLANTIC  STATES 
Maine 

146.  State  University,  Orono 

147.  Bowdpin  College,  Brunswick . 
New  Hampshire 

148.  Dartmouth  College,  Hanover 

Vermont 

149.  State  University,  Burlington. 
Massachusetts 

150.  Harvard  Graduate  Magazine. 


151.  Harvard  University,  Cambridge 

152.  Radcliffe  College,  Cambridge. . . 

153.  Amherst  College,  Amherst 


154.  Amherst  Course  of  Study 

155.  Smith  College,  North  Hampton 


.1914. 
.1908-14:91. 

,1901-02:134.  1902-03:153.  1903- 
04:145.  1912-13:175. 

.1908-12.  1911-12:18. 

.1894-95:311.  1896-97:461.  1897- 
98:389.  1900-01:538.  1901-02: 
537.  1902-03:377,416.  1903-04: 
621.  1905-06:285.  1906-07:201, 
288,291,406.  1909-10:308.  1911- 
12:318.  1912-13:277,458,586. 
.1913-14:360. 
1903-04:3,35. 
.1886-87:9.   1887-88:9. 
1888-89:9.   1889-90:9. 
1890-91:9.   1891-92:10. 

1893-94:10. 

1895-96:10. 

1897-98:53. 

1899-00:58. 

1901-02:64. 

1903-04:71. 

1905-06:75. 

1907-08:75. 


156.  Boston  University,  Boston 

157.  Williams  College,  Williamstown . 

158.  Mount  Holyoke  College,  South 
Hadley 


1892-93:10. 
1894-95:10. 
1896-97:53. 
1898-99:52. 
1900-01:63. 
1902-03:69. 
1904-05:74. 
1906-07:74. 

.  Page  78. 

.  1891-92 :6,22,26.  1892-93 :23,27, 
48.  1893-94:26,29.  1894-95:28, 
56.  1895-96:36,40,64.  1896-97: 
33,41,44.  1897-98:37,44,48.  1898- 
99:37,46,54,58.  1899-00:37,88, 
95,98.  1900-01:57,65,68.  1901- 
02:60,68,101.  1902-03:62,72,104. 
1903-04:55,102.  1904-05:5,61, 
101.  1905-06:62,107.  1906-07: 
65,115.  1907-08:65,72,121,129. 
1908-09:72.  1909-10:74,135. 
1910-11:80,136.  1911-12:43,83, 
138.  1912-13:75,152.  1913-14: 
38,84,104.  1914-15:39,86. 

.1904:66.  1910:54,94.  1912-13: 
37,68. 
1913. 

.1889-90:5,28,38.  1890-91:17,31. 
1891-92:18.  1892-93:17.  1893- 
94:17,19,42.  1894-95:20.  1895- 
96.  1896-97:30.  1897-98:12,46. 
1898-99:46.  1900-01:54.  1901- 
02:62.  1902-03:66.  1903-04:7,75. 
1904-05:73.  1905-06:75.  1906- 
07:77,113.  1907-08:68.  1908-09: 
8,58,80. 


324 


159.  Phillips  Academy,  Andover 

160.  Tufts  College 

Tufts  College  Catalog 

Music  at  Tufts  College 

Tufts  College  Music  Room 
(Rough  list  of  music  rolls.) 

161.  Wellesley  College 


Rhode  Island 

163.    Brown  University,  Providence 


a.    Brown  University  Course 

of  Study. 
Connecticut 

163.    Yale  University,  Report  of  Pres. 


1913-14:45. 

P.  140. 
1907. 
.1913. 

1889-90:11,23,38,55.  1890-91:39, 
51.  1891-92:38,61.  1894-95:61, 
63.  1895-96:67.  1896-97:64. 
1897-98:68.  1902-03:99.  1903- 
04:107.  1904-05:110.  1905-06: 
96.  1906-07:103.  1907-08:109. 
1908-09:111.  1909-10:119.  1910- 
11:123.  1911-12:120.  1912-13: 
130.  1913-14:132.  1914-15:130, 
156. 


.1908-09:141,235. 
1912:13:133,232. 

224. 


1910-11:159. 
1913-14:124, 


164.  Wesleyan  University,  Middletown 

165.  Trinity  College,  Hartford 

New  York 

166.  History  of  Columbia  University.  .  1754-1904:256. 

167.  Columbia  University,  New  York 
City 


.1899-00:71.  1900-01:98.  1901- 
02:123.  1902-03:139.  1903-04: 
171.  1904:05:171.  1905-06:163. 
1906-07:198.  1907-08:216.  1908- 
09:226.  1909-10:216.  1910-11: 
231.  1911-12:237.  1912-13:220. 

.1913-14:111. 

.1908. 


168.  Columbia  University  Bulletin   . 

169.  Columbia  University  Quarterly 


Faculty  of  Fine  Arts 

Columbia  College  Announcement 

170.  Teachers  College  Record 

Teachers  College  Bulletin 

171.  Cornell  University,  Ithaca 


172.    Teachers'  and  Supervisors'  Course 
Summer  Session .  . 


1896-97:110.  1897-98:137.  1899- 

00:136.  1900-01:159.  1901-02: 

140.  1902-03:147.  1903-04:152. 

1904-05:148,459.   1905-06:122, 

294,437.  1907-08:118.  1908-09: 

133,302. 

1896-98:15. 

1898-99:342.  1899-00:291.  1903- 

04:437.  1904-05:65,378.  1905- 

06:311.  1906-07:83,383.  1907- 

08:386.  1908-09:383.  1909-10: 

347.  1910-11:135,361. 

1911-12:102.  1912-13:147.  1913- 

14:27. 

1914-15:55. 

1900-01:30. 

.1913-14:101. 

.1896-97:99.  1897-98:101.  1898- 
99:113.  1899-00:117.  1900-01: 
117.  1901-02:120,407.  1902-03: 

.127,132.  1903-04:133.  1904-05: 
133.  1905-06:138.  1906-07:143. 
1907-08:149.  1908-09:157.  1910- 
11:9,34.  1914-15:34. 

'  1914:3, 5,6. 


325 

173.  Syracuse  University,  Syracuse. ..  .1899-00:125.  1900-01-122    1901- 

02:132.  1906-07:136.  1907-08: 
45,149,165,264,266.  1913:161, 
392. 

174.  University  of  Rochester,  Rochester  1910-11:10.    1911-12 

175.  College  of  the  City  of  New  York. .  1913-14:73. 

176.  New  York  University 1914-15:63. 

177.  Vassar  College,  Ploughkepsie 1872-73:5,16,23.     1873-74:23  28 

1874-75:22,23.  1875-76:16,23 
1876-77:23.  1877-78:38.  1878- 
79:56.  1879-80:35.  1880-81:39. 
1881-82:5,14,39.  1882-83:14,37. 
1882-83:14,38.  1883-84:14,40. 
1884-85:14,27.  1885-86:14,27 
1886-87:14,36.  1887-88:14,37. 
1888-89:14,41.  1889-90:14,43. 
1890-91:8,19,60.  1891-92:22,62. 
1892-93:28,57.  1893-94:57.  1894- 
95:69.  1895-96:58.  1896-97:60. 
1898-99:55.  1899-00:55.  1900- 
01:57.  1901-02:58.  1902-03:62. 
1903-04:64.  1904-05:40.  1905- 
06:42.  1906-07:43.  1907-08:50. 
1908-09:51. 

178.  Wells  College,  Aurora 1913-14:54,62. 

179.  William  Smith  College,  Geneva. .  .1913-14:56. 

180.  Hobart  College,  Geneva 1913. 

181.  Colgate  University,  Hamilton.  .  .  .1903. 

182.  St.  Lawrence  University,  Canton . .  1913-14. 

183.  Union  College,  Schenectady 1912-13. 

New  Jersey 

184.  Princeton  University,  Princeton.  .1913-14:289. 

185.  Rutgers  College,  New  Brunswick .  1913-14:187. 

Pennsylvania 

186.  University  of  Pennsylvania, 

Philadelphia 1890-91:39,118.    1891-92:46,131. 

1892-93:45,164.  1893-94:125,257. 
1894-95:84.  1895-96:87.  1896- 
97:85.  1897-98:92.  1898-99:90. 
1899-00:99,173.  1900-01:100,175. 
1901-02:103,180.  1902-03:81,177. 
1903-04:90,183.  1904-05:92,193. 
1905-06:94,191.  1906-07:97,202, 
264.  1907-08:118,231,294.  1911- 
12:109,239,240.  1912-13:78,243. 

187.  Buchnell  University,  Lewisburg  .  .  1906-07:195,209.  1907-08:49,195. 

188.  Lebanon  Valley  College,  Annville.  1913:70,83.     1914:69. 

189.  Perkiomen  Seminary,  Pennburg.  .1912-13:43,117. 

190.  Grove  City  College,  Grove  City.    1913-14:60,120. 

191 .  Pennsylvania  College  for  Women, 

Pittsburg 1909-10:58,79. 

192.  Pennsylvania  State  College 1910:34.    1913-14:43. 

193.  Pennsylvania  College,  Gettysburg.  1912-13:98.     1913-14:103. 

194.  University  of  Pittsburg,  Pittsburg .  P.  45.     (Late  bulletin.) 

195.  Alleghany  College,  Meadville.  .  .  .1913. 

196.  Lafayette  College 1913-14. 

197.  LehighUniversity,SouthBethlehaml907. 

198.  Washington  and  Jefferson  College, 
Washington 1914. 


326 

SOUTH  ATLANTIC  DIVISION 
Delaware 

199.  Delaware  College,  Newark 1913. 

Maryland 

200.  The  Women's  Collegeof  Baltimore.  1902:11,102. 
District  of  Columbia 

201.  Howard  University,  Washington, 

D.  C 1900:14,54.    1913-14:120,244. 

202.  Georgetown   University,   Wash- 
ington, D.  C 1907-08:9.     1908-09. 

203.  George  Washington  University, 
Washington,  D.  C 1914. 

Virginia 

204.  University  of  Virginia,  Charlot- 
tesyille 1914:56. 

205.  University  of  Virginia  Record, 
Charlottesville 1913-14. 

206.  College  of  William  and   Mary, 
Williamsburg 1913-14. 

West  Virginia 

207.  West  Virginia  University,  Mor- 

gantown 1897-98:152.       1899-00:152,245. 

1901-02:146,214.  1902-03:149. 
1903-04:146,241.  1904-05:156, 
262.  1905-06:173,282.  1906-07: 
188.  1910-11:232,306.  1912-13: 
197,199.  1913-14:106,229,429. 
North  Carolina 

208.  University    of    North    Carolina 

Record .1907-08:154.     1912-13:193. 

209.  University   of   North    Carolina, 
Chapel  Hill 1913:32. 

210.  Shaw  University  (Colored), 

Raleigh 1912:5,17. 

South  Carolina 

211.  University  of  South  Carolina, 
Columbia 1913-14. 

212.  Converse  College,  Spartanburg.  ..  1900:3. 
Georgia 

213.  University  of  Georgia,  Athens. . .  .  1910-11:292. 
Florida 

214.  University  of  Florida,  Gainesville.  19 10-11.    1911-12. 

215.  Florida  State  College  for  Women, 

Tallahassee 1911-12:53,95,173.    1912-13:113. 

216.  John  B.  Stetson  University, 

Deland 1908-09:107,114. 

SOUTH  CENTRAL  DIVISION 
Kentucky 

217.  University  of  Kentucky,  Lexing- 
ton  1913:63. 

Tennessee 

218.  University  of  Tennessee,  Knoxville.  1893-94:17.     1894-95:17.     1895- 

96:17.  1896:97:19.  1897-98:19. 
1898-99:15.  1906-07:4,84.  1907- 
08:89.  1908-09:99.  1910-11:113. 
1911-12:107.  1912-13:124.  1913- 
14:135. 

219.  Maryville  College,  Maryville 1911:35.     1914:50. 

220.  Fisk  University,  Nashville 1907-08:6,57,99. 


327 

22 1 .  Grant  University,  Chattanooga ...  1 906-07 :62 . 

222.  Vanderbilt  University,  Nashville  .  1912-13:134. 

223.  Cumberland  University,  Lebanon.  1912-13:70. 

224.  Peabody   College   for   Teachers, 
Nashville 1911:5. 

225.  University  of  the  South,  Swanee. .  1913-14. 
Alabama 

226.  University  of  Alabama,  Tuscaloosa. 1906.     1910-11:31. 
75th  Anniversary  Book. 

Mississippi 

227.  University  of   Mississippi,  Uni- 
versity  1905:195. 

228.  Mississippi   Industrial   Institute 

and  College,  Columbus 1912:17,84,102. 

229.  Mississippi  Agricultural  and  Mech- 
anical College 1913:23,36. 

From  Miss.  Dep't  Reports  of 
Attorney-General. 
Louisiana 

230.  University  of  Louisiana,  Baton 

Rouge 1914:136. 

231.  Tulane  University  of  Louisiana, 

New  Orleans 191^-13:40,99,163,194,217,21?, 

246,251.  1914:40,89,182,219,231, 
233. 
Texas 

232.  University  of  Texas,  Austin 1913-14:196. 

233.  Baylor  University,  Waco 1914:25,42,109,114. 

234.  Texas  Christian  University,  Fort 

Worth 1912:64,71,135,168. 

Arkansas 

235.  University  of  Arkansas,  Fayette- 

ville 1898-99:108.  1901-02:118.  1913- 

14:45. 
Oklahoma 

236.  University  of  Oklahoma,  Norman.  1898-99:30,46.        1900-01:49,61. 

1902-03:96.1904-05:99,118.1905- 
06:93.  1906-07:97,148.  1908-09: 
112,159.  1911-12:128,142.  1912: 
136,142.  1912-13:142,159.  1913- 
14:171. 

237.  University  of  Oklahoma,  Bulletin.  1914. 

238.  Biennial  Report  of  University  of 

Oklahoma Dec.     1912:100. 

239.  Kingfisher  College,  Kingfisher. .  ..  1908-09:12,13,20,55. 

NORTH  CENTRAL  DIVISION 
Ohio 

240.  Ohio  State  University,  Columbus.  1907-08:197.  1909:250.  1910:251. 

241.  Ohio  University,  Athens 1908-09:83.    1911-12:97,140,161. 

1912-13:93,144,172.  1913-14:102, 
150,183.  1914:98,196,199,203. 

242 a.  Ohio  Wesleyan  University,  Dela- 
ware  1913-14:84,107,119. 

242b.  Miami  University 1913-14:84,107,119. 

243.    Baldwin  Wallace  College,  Berea.  .1912-13:92,118.  1913-14:124,147. 

244a.  Western  College,  Oxford 1910-11:56. 

244b.  Western  Reserve  University 1913-14:128,156. 

245.  University  of  Wooster,  Wooster.  .  1914-15:18,50. 

246.  University  of  Cincinnati 1913-14:153,158. 


328 


247.  The  Story  of  OberlinJlev. Leonard 

248.  Oberlin  College,  OH&lin 

Indiana 

249.  University  of  Indiana, 
Bloomington 


1898:20,24,362,402. 
1912-13:205,248,283. 


250. 

251. 
252. 
253. 
Illinois 
254. 


TIr  iversity  of  Notre  Dame,  Notre 

Dame 

De  Pauw  University,  Creencastle 
Purdue  University,  Lafayette 
Earlham  (  ollege,  Earlham 

University  of  Illinois,  Urbaria .  .  . 


255.  University  School  of  Music.  .  .  . 

256.  Uii.'v?rsity  of  Ch'cigo,  Chicago 


257a.  Ncri.hw.  University,  Evanston. 


257b.  Northwestern  University  School 
of  Music 

258.  Northwestern  University  School 
of  Music 

259.  Lombard  College,  Galesburg 

260.  Hedding  College,  Abingdon 

261.  Monmouth  College,  Monmouth  .  . 

262 .  JamesMillikenUniversity,Decatur 


1909-10:233.  1910-11:247.  1911- 
12:179.  1912-13:180,332.  1913- 
14:174,335.  1914:142,343. 

1902-03:29,92,96.  1909-10:5,171. 

1909:92. 

1909-10. 

1909-10:100. 

.1877-78:63.  1878-79:75.  1881- 
82:74.  1882-83:75.  1883-84:75. 
1884-85:83.  1885-86:88.  1886- 
87:89.  1887-88:90.  1892-93:140. 
1894-95:33,148,197.  1895-96:53, 
58.  1896-97:46,180.  1897-98: 
135,221.  1898-99:143,231.  1899- 
00:149.  1901-02:145,261.  1902- 
03:139,260.  1903-04:145,270, 
1906-07:161,194.  1907-08:140, 
207.  1911-12:86,124,217,413. 
1913-14:115,234,443. 
1914-15:3,7,10. 

.1893-94:302.  1894-95:380.  1895- 
96:42,295. 1896-97:144,341. 1897- 
98:149,352.  1899-00:143,338. 
1900-01:167.  1901-02:181,305. 
1902-03:205,388.  1903-04:200. 
S95.  1904-05:169,344.  1905-06: 
135,300.  1906-07:129,298.  1907- 
08:200,371.  1909-10:208,410. 
1910-11:203,399.  1911-12:203, 
400.  1912-13:331,459.  1913-14: 
346,485. 

1891-92:7.  1892-93:23,54,71. 
1893-94:54.1894-95:79,100.1895- 
96:84,107,228.  1896-97:88,108, 
221.  1897-98:113,140,231.  1898- 
99:111,250,347.  1899-00:121,266, 
365.  1900-01:102,276,377.  1901- 
02:107,292.  1902-03:115,261. 
1903-04:129,277,404.  1904-05: 
132,289,420.  1905-06:136,297, 
428.  1906-07:110,264,390.  1907- 
08:114,279,419.  1908-09:105,250, 
372.  1909-10:104,203,365.  1910- 
11:106,265,391.  1911-12:143,339, 
506.  1912-13:124,321,492.  1913- 
14:121,316,477.  1914-15:7. 

1914-15. 

Sept.,  1914. 

1913-14:46,56. 

1909:34,46,56. 

1914:66,73. 

1906-07:30. 


329 


263.  Rockford  Allege,  Rockford 

264.  Lake  Forrst  College,  Lake  Forest 

265.  Carthage  College,  Carthage 

266.  Illinois  Wesleyan  University, 
Bloomington 

267.  Knox  College,  Galesburg 

268.  Au^ustana  College  and  Theolog- 
ical Seminary,  Rock  Island .  . 


Michigan 

270.    University  of  Michigan,  Ann 
Arbor.  . 


1913-14:59,71. 

1909-10:73,107. 

1910-11:58. 

1913:22,96,145. 
1912-13:79. 

1912-13:64,119,152.    1913-14:17, 
65,164. 


271.  History  of  the  University  of 
Michigan 

272.  Calendar  of  University  School  of 
Music 

273.  Olivet  College,  Olivet 

274.  Hillsdale  College,  Hillsdale 

275.  Alma  College 

276.  Kalamazoo  College 


.1880-81:50.  1881-82:55.  1882- 
83:62.  1883-84:62.  18  "54-85:64. 
1886-87:66.  1887-88:^2.  1888- 
89:68.  1889-90:58.  18^0-91:59 
1891-92:64.  1892:93:72.  1893- 
94:73.  1894-95:76,131.  1895-%: 
73,218.  1896-97:69.  1897-98:73. 
1898-99:77.  1899-00:73.  1900- 
01:79.  1901-02:79.  1902-03:79. 
1903-04:85.  1904-05:45,88.  1905- 
06:45,90.  1906-07:48.  1907-08: 
10,57,108.  1908-09:65,118.  1909- 
10:63,131.  1910-11:64,136.  1911- 
12:61.  1912-13:76,169. 

.1885:211,270. 

.1913-14:10,14,23,30,67. 

.1908-09:43,61. 

.1914-15:18,52,135. 

.1912-13:47,94. 

.1912-13:59. 


Wisconsin 

277.    University  of  Wisconsin,  Madison.  1884-85:78.     1885-86:82.     1886- 

87:114.  1887-88:127.  1888-89: 
120.  1889-90:124.  1890-91:148. 
1892-93:85.  1893-94:104,210. 
1894-95:210.  1895-96:241,317. 
1896-97:249,343.  1905-06:212, 
335.  1906-07:213,347,544,404. 
1907-08:234,459,641.  1908-09: 
241,469,618.  1909-10:194,298, 
422.  1910-11:225,430,456,461, 
488,500,535,732.  1911-12:461. 
1912-13:231,475,504,554,757. 

.1914-15:5,13,18,27,29,39,47. 

.1914:130. 

.1910. 

.1912-13:63,84,101. 

.:32. 


278. 
279. 
280. 
281. 
282. 


University  School  of  Music .... 

Beloit  College,  Beloit 

Lawrence  College,  Appleton .  .  . 

Ripon  College,  Ripon 

Marquette  College,  Milwaukee. 


Minnesota 

283.    University  of  Minnesota,  Minne- 
apolis 


1897-98:86.  1898-99:86.  1899- 
00:87.  1900-01:87.  1901-02:94, 
204.  1902-03:88.  1905:95.  1906- 
07:51,79,125.  1907-08:47,164. 
1908-09:185.  1909-10:205.  1913- 
14:12,36. 


330 

284.  Macalester  College,  St.  Paul ..    ..1906-07:60.    1£09:60,100.    1910: 

37,78,97. 

285.  Gustavus  Adolphus  College,  St. 

Peter 1912-13:63,77. 

286.  St.  Olaf  College,  Northfield 1913-14:7,23,53,65,68,107. 

287.  Carleton  College,  Northfield 1913:82.     1914:74,82. 

288.  Albert  Lea,  Albert  Lea 1912-13:35.     1913-14:33,61. 

289.  Parker  College,  Winnebago 1909-10:6,34,70. 

Iowa 

290.  State  University  of  Iowa,  Iowa 

City 1867-68:29,41.  1869-70:25.  1-870- 

71:6,39.  1871-72:4.  1872-73:6. 
1873-74:5.  1874-75:5.  1875-76:5. 
1876-77:5,35.  1877-78:5.  187P- 
79:5.  1879-80:5.  1880-81:5. 
1881-82:5.  1882-83:5.  1883-84: 
5,37.  1885-86:4.  1888-89:4. 
1889-90:4.  1890-91:4.  1891-F2: 
4.  1892-93:4.  1893-94:4.  1894- 
95:4.  1895-96:4.  1896-97:4. 
1897-98:5.  1898-99:5,114.  189<~- 
00:7,115.  1900-01:7,12,44.  1901- 
02:7,13,48.  1902-C3,8,13,52.190~- 
4:8,26,53.  1904-05:8,14,58.  1905- 
06:8,17,63.  1906-07:13,15,67,489. 
1907-08:11,68,505,608.  190P-OP: 
11,278,509.  1909-10:10,58,3f3. 
1910-11:58,371,476.  1911-12:60, 
149,243,266,504.  1912-13:29,60, 
165. 

291.  Penn  College,  Oskaloosa 1910:4,42,86. 

2  92 .    Iowa  State  C  ollege  of  Agriculture 

and  Mechanic  Arts,  Ames 1913-14:9,336,450. 

293.  Central  University  of  Iowa,  Pella .  1901-10 :58,69. 

294.  Upper  Iowa  University,  Fayette.  .1913-14:9,51,62,118. 

295.  Parsons  College,  Fairfield 1913-14:10,75,94. 

296.  Graceland  College,  Lamoni 1912:26,73. 

297.  Coe  College,  Cedar  Rapids 1910-11:44,84,127. 

298.  Amity  College,  College  Springs.  .  .1908-09:6,40,64. 

299.  Des  Moines  College,  Des  Moines.  .1914:10,77,98. 

300.  Buena  Vista  College,  Storm  Lake.  1907-08:68. 

301.  Tabor  College,  Tabor 1914-15:29,38. 

302.  Ellsworth  College,  Iowa  Falls  ....  1906-07:74. 
Missouri 

303.  University  of  Missouri,  Columbia.  1895-96:140.    1896-97:30.    1897- 

98:54.  1898-99:56.  1899-00:66 
1900-01:64.  1901-02:55.  1902- 
03:55.  1903-04:138.  1904-05: 
155.  1905-06:93,180.  190f-07: 
183.  1907-08:32,110,210.  1911- 
12:176,262.  1912-13:170,249. 
1913-14:30,165,239. 

304.  Hardin  College,  Mexico 1913-14:9,49. 

305.  Tarkio  College,  Tarkio 1913-14:5,60,111. 

306.  Christian  Brothers  College,  St. 

Louis 1913-14:67.     1914-15:60. 

307.  Missouri  Valley  College,  Marshall.  1914:97,149. 

308.  Missouri  Wesleyan  University, 

Cameron 1912-13:31,65. 

309.  Walther  College,  St.  Louis 1911-12:9. 


331 


310.  William  Jewell  College,  Liberty 

311.  St.  Louis  University,  St.  Louis 

312.  Park  College,  Parkville 

313.  Central  College,  Fayette 

314.  Westminster  College,  Fulton.  .  . 

315.  Drury  College,  Springaeld 

North  Dakota 

316.  University  of  North  Dakota, 
Grand  Forks . . 


317. 


The  Quarterly  Journal,  Vol.  IV, 

No.  4,  July,  1914 

Announcement  of  Music  Dep't.  . 
"The  Ministery  of  Music,"  Wil- 
liam Wellington  Norton. 

318.  The  Quarterly  Journal,  January. 
"The    Discrimination    of    Pitch 
and  Its  Relation  to  Training," 
William  Wellington  Norton,  As- 
sistant Professor  of  Music. 

South  Dakota 

319.  University    of    South    Dakota, 
VermLlion.  . 


320.  Dakota  Wesleyan  University, 
Mitchell 

321.  Huron  College,  Huron 

Nebraska 

322.  University  of  Nebraska,  Lincoln 


323.  Union  College,  College  View.  . . 

324.  Cotner  University,  Bethany 

325.  ^otrer  University  School  of 
Music  Catalog 


1910:91.  1912-13:112. 

1912:223.  1913:253.  1911:260. 

1908-09:55,71. 

1909:106. 

1909-10:85. 

1908:37,80.  1909. 


1898-99:68.  1899-00:68.  1905- 
06:87.  1906-07:32.  1907-03:196 
1908-09:85.  1909-10:212. 

1914:344. 
1911. 


1912:129. 


1890-91:50.  1891-92:18,37.  1892- 
93:22.  1893-94:23,39,50.  1894- 
95:20,51.  1895-96:20,50.  1897- 
98:21,68.  1898-99:33,70.  1899- 
00:3J?,76.  1900-01:46,71.  1901- 
02:65,70,94.  1903-04:72,103. 
1904-05:112,157.  1905-06:139, 
171.  1908-09:137,203.  1909-10: 
144,216.  1912-13:190,286.  1913- 
14:174,266. 

.1914:165,241. 
1914-15:9,70,95. 

.1879:8,41.  1880:8,21,23,39.  1881- 
82:7,38.  1882-83:9,21,46.  1883- 
84:8,22,52.  1884-85:53,71,100. 
1885-86:9,22,27,72.  1886-87:9, 
28,78.  1887-88:26,81,90.  1888- 
89:8,27,32,70.  1889-90:9,33,81. 
1890-91:9,38,87.  1891-92:38. 
1892-93:9,35.  1893-94:40.  1894- 
95:13,50.  .  1895-96:26,213,282. 
1896-97:235,237.  1897-98:152, 
259,353.  1898-99:226,309.  1899- 
00:237,316,411.  1900-01:195, 
254,358.  1901-02:203,311,40?. 
1902-03:216,346,436.  1903-04: 
238,385,492.  1904-05:279,467, 
551.  1905-06:263,392,484.  1908- 
09:279,467.  1909-10:146,375, 
458.  1910-11:159.  1911-12:166. 
1912-13:173.  1913-14:50,518. 
.1909:169.  1912-13:92. 
.1911:86,125. 

.1912-13. 


332 


326.  Nebraska   Wesleyan   University 
Conservatory  of  Music  Catalog, 
University  Place 

327.  Hastings  College,  Hastings 

328.  Doane  College,  Crete 

329.  Creighton  University,  Omaha.  .  . 

330.  Grand  Island  College,  Grand 
Island 

331.  Luther  Academy,  Wahoo 

Kansas 

332.  University  of  Kansas 


333.    Baker  University,  Baldwin 


334 .  B  aker  University  Summer  Session 

335.  Ottawa  University,  Ottawa 

336.  Oswego  College,  Oswego 

337.  Washburn  College,  Topeka 

338.  Kansas  Wesleyan  University, 
Salina 

339.  Fairmont  College,  Wichita. ..... 

340.  Midland  College,  Atchison 

341.  St.  Benedict's  College,  Atchison. 

342.  Mt.  St.  Scholastica's  Academy, 
Atchison.  . 


.1912. 

.1912-13:59. 

.  1912-13:53,71,77.  1913-14:22,53, 
62,84. 
.1911-12:4,15. 

.1910:52. 
.1906-07:35,53,60. 

.  1890-91 :30,79.    1891-92 :48,90. 

1892:93:44,90.   1893-94:49,100. 

1894-95:50,103.  1895-96:55,119. 

1896-97:55,134.  1897-98:57,140. 

1898-99:61,165.  1899-00:89,200. 

1900-01:93,157,206.  1901-02:96, 

167,212.   1902-03:98,181,232. 

1903-04:215,236.   1904-05:153, 

241,391.   1905-06:163,261,455. 

1906-07:257,491.   1907-08:182, 

268,502.   1908-09:154,223,411. 

1909-10:184,257,476.   1912-13: 

47,178,269. 
.1904-09  :  68.  1913  :  9,  81,  140. 

1914:73. 

1915. 

1911-12:82,103.  1913-14:11,76,99. 

1913:7,35,40,48,54,57. 

1912-13:5,64,105,119,168. 

1909:6,53,70. 
1902-03:5,35,56. 
1908-09:5,51,66. 
1907:9,26. 

1907:57. 


WESTERN  DIVISION 

343     University  of  Montana,  Missoula.  1895-96:42,47.  1896-97:45.  1898- 

99:42,61,72.  1899-00:53,83.  1900- 
01:62,95.  1901-02:59,91.  1902- 
03:56,89.  1903-04:5,60,95.  1904- 
05:64,100.  1905-06:60,96.  1906- 
07:58,92. 
09:60,86. 


1907-08:57,90.     1908- 
1909-10:59.     1911-12: 


344. 
345. 


President's  Report  of  University 
Montana  Uni.  Summer  School 


346.    College  of  Montana,  Deer  Lodge 


10,133. 
1905-06:17. 
1914:41. 
1910-11:48. 


1906-07:35,57. 


Wyoming 

347     University  of  Wyoming,  Laramie.  1896-97: 104.      1898-99:64,152. 

1891-92.  1892-93.  1894-95. 
1895-96.  1901-02.  1903-04:104. 
1904-05:22,100,184.  1908-09:11, 
153.  1914:40,200,256,279. 


333 

Colorado 

348.  University  of  Colorado,  Boulder.  .1885-86:12.  1886-87:14,62    1887- 

88:16.  1888-89:15.  1890-91:18 
1893-94:68.  1894-95:40,71.  1895- 
96:76,143.  1896-97:81,159.  1897- 
98:91,157.  1898-99:96,168.  1899- 
00:99,176.  1900-01:80.  1901-02: 
84.  1902-03:90.  1903-04:115. 
1904-05:116.  1905-06:127.  1906- 
07:134.  1907-08:130.  1908-09- 
113.  1909-10:118.  1910-11:119, 
155.  1913-14:112,153,227. 

349.  ColoradoCollege,ColoradoSprings.  1909-10:115,162. 

350.  University  of  Denver,  Denver. . .  .1908-09:78,115.     1912-13. 
New  Mexico 

351.  University  of  New  Mexico,     • 

Albuquerque 1892:5.       1893:27.       1894:4,46 

1896:6,45.  1897-98.  1898-99:69. 
1899-00:90.  1900-01:81.  1902- 
03:37.  1903-04:94,111.  1904-05. 
1905-06.  1906-07.  1907-08. 
1908-09.  1909-10.  1910-11:4,77, 
128.  1911-12:6,34,48.  1912-13: 
4,88,112.  1913-14:89. 
Arizona 

352.  University  of  Arizona,  Tuscan 1906-07:75.   1907-08:8,83.   1908- 

09:8.    1910-11:7.    1913-14:3. 
Utah 

353.  University  of  Utah,  Salt  Lake  City.  1893-94:4.    1894-95:6,53.    1»95: 

96:7,67.  1896-97:7,57.  1897-98: 
7,64.  1898-99:15,83.  1901-02: 
10,12,77.  1902-03:11,90.  1903- 
04:11,99.  1904-05:6,56.  1905- 
06:13,38.  1906-07:72,131.  1907- 
08:13.  1908-09:13,195.  1909-10: 
13,207.  1910-11:11,175.  1911-12: 
10,179.  1912-13:8,178,197. 

354.  Brigham  University,  Provo 1908:6,95. 

355.  Brigham  Young  College,  Logan  .  .  1908:80,106. 
Nevada 

356.  University  of  Nevada,  Carson  City.  191 1-12:40.     1913-14:79,178. 
Idaho 

357     University  of  Idaho,  Moscow.  .  .  .  1899-00:8,18,50,64.     1900-01:21, 

53,69,113.  1901-02:24,46,102. 
1902-03:11,25,56,115.  1903-04: 
11,27,64,137.  1908-09:89,104. 
1911-12:46,104,239.  1913-14: 
120,254. 

358.    Academy  of  Idaho 1911-12:29. 

(Dep't  of  Public  Instruction.) 
Washington 

359     University  of  Washington,  Seattle.  1898-99:89.     1892:7,38.     1893:7, 

47.  1894:54,105.  1^94-95:70. 
1895-96.  1896-97.  1901.  1902. 
1904.  1904-05.  1907-08:70. 
1908-09:147.  1909-10:164.  1910- 
11:184.  1911-12:102.  1912-1J: 
261.  1913-14:262,500. 

;>,(;()     University  Summer  Session 1914:34. 

:;<n  .    Whitman  College,  Walla  Walla. . .  1910:89.    1912:63,47. 


334 

362.  College  of  Puget. Sound,  Tacoma.  1914-15:10,15,34,87. 
Oregon 

363.  University  of  Oregon,  Eugene 1896-97:8,69.        1897-98:78,104. 

1898-99:91.  1902-03:85,186. 
1903-04:68,165.  1904-05:107,138. 
1905-06:111,146.  1906-07:130, 
170.  1907-08:169,191.  1908-09: 
166,223.  1909-10:188,209,273. 
1910-11:201,228,299.  1911-12: 
202,244,318.  1912-13:204,259, 
305.  1913-14:186,242. 

364.  Pacific  University,  Forest  Grove.  .1907:5,53.    1909-10. 

365.  McminnvilleCollege, Mcminnville .  1904-05 :45,55. 

366.  Albany  College,  Albany 1914-15:8,67. 

California 

367.  University  of  California,  Berkeley.  1907-08:2  54.      1908-09:40,72,92. 

1909-10:45,70,92.  1910-11:9,68, 
214.  1911-12:65,74,168.  1912- 
13:16,36,73,177. 

368.  University  of  California,  Summer 
Session 1910:34. 

369.  Leland  Stanford,  Jr.,  University, 

Palo  Alto 1895-96:112,136.       1896-97:114, 

137.  1897-98.  1898-99.  1899-00. 
1900-01.  1901-02.  1902-03. 
1903-04.  1904-05.  1905-06:161. 
1906-07.  1907-08:57.  1908-09: 
175.  1909-10:179.  1910-11:196. 
1911-12:52,202. 

370.  Pomona  College,  Claremont 1913-32,43,66,85.    1914:15,63,83. 

371.  Mills  College,  Oakland 1909-10-11:12,116. 

372.  University  of  Southern  California, 

Los  Angeles 1907-08:6,55.    1911-12:201. 

373.  University  of  the  Pacific,  San  Jose.  1910-11:51. 

374.  St.  Vincent's  College,  Los  Angeles.  1902-03:19. 

375.  Santa  Clara  College,  Santa  Clara.  1907-08:14,21,143. 

DIVISION  IV. 
CORRESPONDENCE  WITH  STATE  SUPERINTENDENTS. 

NORTH  ATLANTIC  DIVISION 

376.  Mason  S.  Stone,  Montpelier,  Vermont Nov.  16,  1914. 

377.  David  Snedden,  Boston,  Massachusetts Nov.  10,  1914. 

378.  Walter  E.  Ranger,  Providence,  Rhode  Island Nov.  13,  1914. 

379.  Charles  D.  Hine,  Hartford,  Connecticut Nov.  13,  1914. 

380.  Thomas  E.  Finegan,  Albany,  New  York Nov.  10,  1914. 

381.  Nathan  C.  Schaeffer,  Harrisburg,  Pennsylvania Nov.    9,  1914. 

SOUTH  ATLANTIC  DIVISION 

382.  Charles  A.  Wagner,  Dover,  Delaware Nov.    9,  1914. 

383.  Norris  P.  Shawkey,  Charleston,  West  Virginia Nov.  12,  1914. 

384.  J.  Y.  Joyner,  Raleigh,  North  Carolina Nov.    9,  1914. 

385.  W.  M.  Sheats,  Tallahassee,  Florida Nov.    9,  1914. 

SOUTH  CENTRAL  DIVISION 

386.  J.  O.  Gilbert,  Ass't  Sup't  Frankfort,  Kentucky Nov.    7,  1914. 

387.  Win.  R.  Bourne,  High  School  Inspector,  Nashville, 

Tennessee Nov.  17,  1914. 


335 

388.  Booker  T.  Washington,  Tuskegee  Institute,  Tuskegee, 

Alabama - Feb.     9,  1915. 

389.  T.  H.  Harris,  Baton  Rouge,  Louisiana. ...» Nov.    9    1914 

390.  W.  F.  Doughty,  Austin,  Texas Nov.    7    1914 

391.  R.  H.  Wilson,  Oklahoma  City,  Oklahoma Nov.  10^  1914! 

NORTH  CENTRAL  DIVISION 

392.  T.  M.  Muir,  Dep't  of  Publ.  Instruction,  Columbus,  O .  .Nov.    9,  1914. 

393.  Charles  A.  Greathouse,  Indianapolis,  Indiana Nov.    7,  1914. 

394.  Fred  L.  Keeler,  Lansing,  Michigan Nov.    9,  1914. 

395.  C.  G.  Schulz,  St.  Paul,  Minnesota Nov.    6,  1914. 

396.  Albert  M.  Deyoe,  Des  Moines,  Iowa Feb.     4,  1915. 

397.  William  P.  Evans,  Jefferson  City,  Missouri Nov.  10,  1914 

398.  C.  H.  Lugg,  Pierre,  South  Dakota Dec.     2,  1914. 

399.  James  E.  Delzell,  Lincoln,  Nebraska Nov.  11,  1914 

400.  W.  D.  Ross,  Topeka,  Kansas.  .'. Nov.    6,  1914. 

WESTERN  DIVISION 

401.  H.  A.  Davee,  Helena,  Montana Nov.  12,  1914. 

402.  Mrs.  Rose  A.  Bird-Waley,  Cheyenne,  Wyoming Nov.  11,  1914. 

403.  Alvan  N.  White,  Santa  Fe,  New  Mexico Nov.    9,  1914. 

404.  A.  C.  Matheson,  Salt  Lake  City,  Utah Nov.  10,  1914. 

405.  John  Edwards  Bray,  Carson  City,  Nevada Dec.     9,  1914. 

406.  Grace  M.  Shepherd,  Boise,  Idaho Nov.    9,  1914. 

407.  C.  A.  Sprague,  Ass't  Sup't,  Olympia,  Washington. .  .  .Nov.    9,  1914. 
408a.  C.  A.  Sprague,  Ass't  Sup't,  Olympia,  Washington. .  .  .Feb.     8,  1915. 
408b.  C.  A.  Sprague,  Ass't  Sup't,  Olympia,  Washington. .  .  .May    7,  1915. 

409.  J.  A.  Churchill,  Salem,  Oregon Nov.    9,  1914. 

410.  Edward  Hyatt,  Sacramento,  California Nov.  10,  1914. 

UNITED  STATES  POSSESSIONS 

411.  Governor  of  Alaska,  Juneau Jan.   20.  1915. 

412.  Miss  Anna  Tibbets,  former  teacher  in  Porto  Rico. 


DIVISION  V. 
CORRESPONDENCE  WITH  STATE  UNIVERSITIES  AND  COLLEGES. 

NORTH  ATLANTIC  DIVISION 

413.  State  University,  Orono,  Maine Nov.  21,  1914. 

414.  State  University,  Burlington,  Vermont Nov.  16,  1914. 

415.  Amherst  College,  Amherst,  Massachusetts Dec.  27,  1914. 

416.  Clark  University,  Worcester,  Massachusetts Nov.  16,  1914. 

417.  Smith  College,  Northampton,  Massachusetts Nov.  18,  1914. 

418.  Tufts  College,  Boston,  Massachusetts Nov.  19,  1914. 

419.  Wellesley  College,  Wellesley,  Massachusetts Nov.  23,  1914. 

420.  Brown  University,  Providence,  Rhode  Island Nov.  10,  1914. 

421.  Rhode  Island  State  College,  Kingston Nov.  24,  1914. 

422.  Yale  University,  New  Haven,  Connecticut Nov.  27,  1914. 

423.  New  York  University,  New  York  City Nov.  16,  1914. 

424.  Cornell  University,  Ithaca,  New  York Nov.  21,  Dec.     1,  1914. 

425.  Bryn  Mawr,  Bryn  Mawr,  Pennsylvania Nov.  17,  1914. 

426.  State  University,  Philadelphia,  Pennsylvania.  .          .  .Nov.  17,  1914. 

SOUTH  ATLANTIC  DIVISION 

427.  George  Washington  University,  Washington,  D.  C  .  .  .Dec.  10,  1914. 

428.  University  of  Virginia,  Charlottesville Nov.  17,  1914. 

429.  'West  Virginia  University,  Morgantown Nov.  17,  1914. 

430.  University  of  South  Carolina,  Columbia.  .  .  .                .Nov.  11,  1914. 
431 !    University  of  Georgia,  Athens Dec.     8,  1914. 


336 

SOUTH  CENTRAL  DIVISION 

432.  University  of  Kentucky,  Lexington Nov.  17,  1914. 

433.  University  of  Alabama,  University Dec.  1914. 

434.  University  of  Mississippi,  University Nov.  17,  1914. 

435.  Louisiana  State  University,  Baton  Rouge Nov.  17,  1914. 

436.  University  of  Texas,  Austin Nov.  17,  1914. 

NORTH  CENTRAL  DIVISION 

437.  Ohio  State  University,  Columbus Nov.  17,  1914. 

438.  Indiana  University,  Bloomington Nov.  28,  1914. 

439.  De  Pauw  School  of  Music,  Green  Castle,  Indiana    .  .  .Dec.     5,  1914. 

440.  Northwestern  University,  Evanston,  Illinois Nov.  30,  1914. 

441.  University  School  of  Music,  Urbana,  Illinois Dec.  31,  1914. 

442.  University  School  of  Music,  Ann  Arbor,  Michigan.  .  .Dec.   10,  1914. 

443.  University  of  Wisconsin,  Madison Nov.  20,  1914. 

444.  University  of  Minnesota,  Minneapolis Nov.  25,  1914. 

445.  University  of  Missouri,  Columbia Nov.  24,  1914. 

446.  University  of  North  Dakota,  University  P.  0 Nov.         1914. 

447.  University  of  South  Dakota,  Vermillion Nov.  16,  1914. 

448.  University  of  Nebraska,  Lincoln. 

449.  University  of  Kansas,  Lawrence Nov.  20,  1914. 

450.  Baker  University,  Baldwin  City,  Kansas. .  Nov.  18,  1914. 

WESTERN  DIVISION 

451.  University  of  Colorado,  Boulder Dec.     8,  1914. 

452.  University  of  Arizona,  Tuscon Dec.     7,  1914. 

453.  University  of  Utah,  Salt  Lake  City Nov.  25,  1914. 

454.  University  of  Nevada,  Reno Nov.  17,  1914. 

455.  University  of  Washington,  Seattle,  Lucy  K.  Cole Feb.     8,  1915. 

456.  University  of  Oregon,  Eugene Nov.  17,  1914. 

457.  Leland  Stanford,  Jr.,  University,  Stanford  University, 

California Nov.  17,  1914. 

DIVISION  VI. 
CORRESPONDENCE  WITH  THREE  AND  FOUR  YEAR  ACCREDITED 

458.    NEBRASKA  HIGH  SCHOOLS 

Adams  Harvard  Randolph 

Ashland  Havelock  Saratoga 

Beaver  City  Hooper  Whittier 

Bertrand  Lawrence  Nebraska  City 

Bloomington  LINCOLN  New  Castle 

Brady  High  School  Normal 

Brock  Bancroft  Plainview 

Cedar  Rapids  Belmont  Rising  City 

College  View  Bryant  Sacred  Heart  (Omaha) 

Douglas  Capitol  Shickley 

Edgar  Clinton  Sidney 

Emerson  Elliott  Stanton 

Falls  City  Everett  Syracuse 

Friend  Hayward  University  Place 

Franklin  Academy  Longfellow  Waterloo 

Geneva  McKinley  Western 

Greenwood  Park  1st  anonymous  letter 

Hardy  Prescott  2d  anonymous  letter 


337 

DIVISION  VII. 
UNIVERSITY  EXTENSION  PAMPHLETS. 

459.  American  Society  for  the  Extension  of  University  Teaching 

111  South  Fifteenth  St.,  Philadelphia,  Penn    ' 
Reports  of  1898-99.     1899-00.     1900-01.     1901-02. 
Announcement  for  1907-08. 
Eight  Year  Report,  1890-98.     Ten  Year  Report,  1890-00. 

460.  University  Extension  College  Correspondence  School,  Detroit,  Mich. 

461.  Kansas  City  Society  of  University  Extension. 

462.  Brown  University  Extension  Courses,  1914. 

463.  Reber,  Louis  E. 

Dean  of  University  Extension  Division,  University  of  Wisconsin. 
"University  Extension  in  the  United  States." 
Government  Printing  Office,  .Wash.,  1914. 

DIVISION  VIII. 
MUSICAL  BOOKS. 

464.  Britan,  Halbert  Haines 

Professor  of  Philosophy  in  Bates  College. 
"The  Philosophy  of  Music." 

Longmans,  Green  &  Co.,  Fourth  Ave.  and  30th  St.,  N.  Y. 

465.  Gehring,  Albert 

Pupil  of  Miinsterberg. 

"The  Basis  of  Musical  Pleasure." 

G.  P.  Putman's  Sons,  N.  Y.,  Knickerbocker  Press,  1910. 

466.  Giddings,  T.  P. 

Supervisor  of  Music,  Oak  Park,  Illinois. 
"School  Music  Teaching." 

C.  H.  Congdon,  378  Wabash  Ave.,  Chicago,  Illinois. 

467.  Gurney,  Edmund 

Late  Fellow  of  Trinity  College,  Cambridge. 
"The  Power  of  Sound." 
Smith,  Elder  and  Co.,  15  Waterloo  Place,  London,  1880. 

468.  Lombard,  Louis 

"The  Art  Melodious." 

Theodore  Presser,  1712  Chestnut  St.,  Philadelphia,  Pa. 

469.  Manchester,  Arthur  L. 

Director  of  Music  Department  of  Converse  College,  Spartanburg;  S.  C. 
"Music  Education  in  the  United  States." 
Government  Printing  Office,  1908. 

470.  Rogers,  Clara  Kathleen 

"The  Philosophy  of  Singing." 

Harpers  and  Brothers,  Pub.,  N.  Y.  and  London. 

DIVISION  IX. 
MUSICAL  MAGAZINES. 

471.  Musical  Teachers'  National  Association 1906. 

(Studies  in  Musical  Education,  History  and  Aesthetics.) 

"Address  of  Welcome" 1906:9. 

President  Eenry  Churchill  King,  D.  D.,  Oberlin  Col- 
lege, Oberlin.  Ohio. 

"Music  in  the  University" 1906:21. 

Prof.  Albert  Augustus  Stanley,  University  of  Michigan, 
Ann  Arbor,  Mich. 


338 

"The  School  of  Music  in  the  University" 1906:32. 

Prof.  P.  C.  Lutkin,  Northwestern  Uni.,  Evanston,  111. 
"Music  as  a  College  Study" 1906:43. 

Prof.  Henry  Dyke  Sleeper,  Smith  College.  Northamp- 
ton, Mass. 
"  Music  in  the  College  " 1906 :55. 

Prof.  Abram  Ray  Tyler,  Beloit  College,  Beloit,  Wis. 
"The  Development  of  Musical  Powe*'  in  the  College 
Student" 1906:61. 

Prof.    Hamilton   C.    Macdougall,    Wellesley  College, 

Wellesley,  Mass. 
"Should  Music  Count  for  College  Entrance?" 1906:66. 

Prof.  W.  R.  Spalding,  Harvard  University,  Cambridge, 

Mass. 
"Music  in  College  and  Secondary  Schools" 1906:70. 

Prof.  Leonard  B.  McWhood,   Columbia  University, 

New  York  City. 
"Music  Credits  in  Secondary  Schools" 1906:76. 

Ralph  L.  Baldwin,  Supervisor  of  Public  Schools,  Hart- 
ford, Conn. 

"Report  of  the  Public  School  Commission  for  the  Year 
Ending  June,  1905" 1906:85. 

Herman  E.  Owen,  Chairman.     Supervisor  of  Public 

Schools,  Madison,  Wis. 
"Musical  Appreciation  for  the  General  Public" 1906:107. 

Thomas  Whitney  Surette,  New  York  City. 

472.  Music  Teachers'  National  Association 1907. 

"Musical  Degrees  in  American  Colleges" 1907:31. 

Prof.   Rossetter   G.   Cole,   University   of   Wisconsin, 

Madison,  Wis. 
"The  Present  Status  of  Music  in  Colleges" 1907:40. 

Prof.  Leonard  B.  McWhood,   Columbia  University, 

New  York  City. 
"The  Statistics  of  Musical  Education" 1907:46. 

Prof.  Arthur  L.  Manchester,  Converse  College,  Spar- 

tanburg,  South  Carolina. 
"The   Movement   for  the   Advancement   of   Music  in 

Secondary  Schools" 1907:69. 

Walter  Scott,  Secretary  of  New  England  Educational 

League,  West  Someryille,  Mass. 
"The  Aims  of  Courses  in  Grammar  Schools" 1907:93. 

Report  of  Sub-Committee  of  Public  Schools. 

Ralph  L.  Baldwin,  Chairman,  Hartford,  Conn. 
"Report  of  Public  School  Conference" 1907:100. 

Julia  E.   Crane,  Chairman,  Normal  Institute,  Pots- 
dam, N.  Y. 
"Credits  in  Music  in  Public  School" 1907:118. 

Lyman  L.  Wellman,  Supervisor,  Northampton,  Mass. 
"What  May  the  University  Do  for  the  Composer?" 1907:244. 

Frederick  S.  Converse,  Westwood,  Mass. 

473.  Music  Teachers'  National  Association 1908. 

"The  Curriculum  of  a  School  of  Music" 1908:65. 

George  W.  Chadwick,  New  England  Conservatory, 

Boston,  Mass. 
"The  Place  of  Music  in  Higher  Education" 1908:96. 

Prof.  Henry  Suzzallo,  Ph.  D.    Teachers'  College,  New 

York  City. 
"The  Mission  of  Music  in  Colleges" 1908:110 

Prof.  Leonard  B.  McWhood,  Columbia  University,  N. 

Y.  City. 


339 

"Music  in  Colleges" — Discussion 1908-118. 

Rossetter  G.  Cole,  University  of  Wisconsin,  Madison. 
"Music  in  Colleges  "—Discussion 1908:120. 

Prof.  Albert  A.  Stanley,  Syracuse  University,  Syracuse, 

"Music  in  Colleges" — Discussion 1908:124. 

Prof  .Wm.  A.White,  Syracuse  University,  Syracuse,  N.Y. 
"Music  in  Colleges" — Discussion 1908:126. 

Prof.  Henry  Dike  Sleeper,  Smith  College,  Northamp- 
ton, Mass. 

"Exigencies     and     Possibilities    of     Secondary     Music 
Education" 1908:148. 

Calvin  B.  Cady,  Boston,  Mass. 
"Report  of  Committee  on  Public  Schools" 1908:165. 

Ralph  L.  Baldwin,  Chairm.  Supervisor,  Hartford,  Conn. 
"Chorus  Work  in  High  School'.' 1908:179. 

Wm.  H.  Critzer,  Supervisor  at  Galion,  Crestline,  Mt. 

Gilead,  Ohio. 
"Social  Music  in  Indianapolis" 1908:186. 

Edward  B.  Birge,  Supervisor,  Indianapolis,  Ind.' 
"A  High  School  Music  Course" 1908:187. 

Will  H.  Earhart,  Supervisor,  Richmond,  Ind. 
"A  Conclusion  Drawn  from  the  Inquiry  into  the  Status 
of  Music  Education  in  Secondary  Schools,  Colleges  and 
Universities" 1908:191. 

Prof.  Arthur  L.  Manchester,  Converse  College,  Spar- 

tanburg,  So.  Carolina. 

474.  Music  Teachers'  National  Association 1909. 

"Observations  Upon  Musical  Life  in  Germany" 1909:30. 

Adolf  Weidig,  Chicago,  111. 
"The  Possibilities  of  Opera  in  America" .  .1909:52. 

Karleton  Hackett,  Chicago,  111. 
"Plain  Song" ' 1909:80. 

Winfred  Douglas,  Precenter  of  Cathedral,  Fond-du- 

Lac,  Wis. 
"Children's  Choir  in  the  Non-Liturgic  Church" 1909:93. 

H.  Augustine  Smith,  Chicago,  111.     Director  of  Fi*st 

Congregational  Church. 
•'Report  of  the  College  Conference" 1909:118. 

Prof.  Henry  Dyke  Sleeper,  Chairman,  Smith  College, 

Northampton,  Mass. 
"The  Basis  for  Academic  Credit" 1909:122. 

Prof.     Clarence     G.     Hamilton,     Wellesley    College, 

Wellesley,  Mass. 
"The  Emphasis  in  Instruction" 1909:126. 

Mrs.ElizabethBattleBintliff,RiponCollege,Ripon,Wis. 
"The  Emphasis  in  Vocal  Music" 1909:132. 

Prof.  Wm.  F.  Bentley,  Knox  College,  Galesburg,  111. 
"Report  of  Public  School  Conference" 1909:141. 

C.  A.  Fullerton,  State  Teachers'  College,  Cedar  Falls, 

Iowa. 
"The  Musicianship  of  the  Grade  Teacher" 1909:144. 

Caroline  V.  Smith,  State  Normal  School,  Winona,  Minn. 
"The  High  School  Curriculum" 1909:151. 

Prof.  Leo  R.  Lewis,  Tufts  College,  Mass. 

475.  Music  Teachers'  National  Association 1910. 

"The  Function  of  the  Concert  Room" 1910:39. 

Albert  A.  Stanley,  University  of  Michigan,  Ann  Arbor. 
"From  a  Publisher's  Arm-Chair" 1910:61. 

H.  W.  Gray,  New  York  City,  N.  Y. 


340 

"The  Influence  of  the  Pianoforte  on  the  General  Develop- 
ment of  Music" 1910:73. 

Francis  L.  York,  Detroit  Conservatory,  Detroit,  Mich. 
"The  Pros  and  Cons  of  the  Mechanical  Player" 1910:86. 

George  Coleman  Gow,  Vassar  College,  Ploughkeepsie, 

N.  Y. 

"  Music  in  the  Home  and  Its  Bearing  Upon  the  Training 
of  the  Grade  Teacher" 1910:157. 

Peter  W.  Dykema,  Ethical  Culture  School,  New  York 

City,  N.  Y. 
"The  Grade  Teacher's  Relation  to  Music  in  the  Public 

Schools" 1910:164. 

Arthur  J.  Abbott,  Superintendent,  Manchester,  N.  H. 
"What  the  Average  Normal  School  Accomplishes" 1910:168. 

Fred    W.    Archibald,    Normal    Schools,    Salem    and 

Farmingham. 
"State  Certification  of  Teachers" 1910:174. 

Herbert  A.  Milliken,  Bay  City,  Michigan. 
"International  Music  Society" 1910:215. 

476.  Music  Teachers'  National  Association ". 1911. 

"The  Development  of  the  Modern  Orchestra" 1911:46. 

Frederick  A.  Stock,  Conductor,  Chicago,  Illinois. 
"Conductors  and  Non-Conductors" 1911:65. 

Charles  S.  Skilton,  University  of  Kansas,  Lawrence. 
"Harmony  Versus  Theory— A  Study  of  Methi       "   1911:148. 

Henry  Dike  Sleeper,  Smith  College,  Northampton,  Mass. 
"The  Reconciliation  of  Art  and  Science  in  Vocal  Teaching  " .  1911 :181 . 

Robert  E.  S.  Olmsted,  Smith  College,  Northampton, 

Mass. 

"Specific  Musical  Education  Versus  Culture  Through 
Music— Which?" 1911:200. 

William  A.  White,  Northwestern  University,  Evanston, 

Illinois. 
"Specific  Musical  Education  in  the  Grades" 1911:204. 

W.  Otto  Miessner,  Oak  Park,  Illinois. 
"High  School  Music" 1911:211. 

Edward  B.  Birge,  Indianapolis,  Ind. 
"Report  Concerning  the  Present  Status  of  Music  in  the 
High  Schools  of  New  England,  New  York  and  New 
Jersey.     Has  the  Policy  Inaugurated  in   1906  Been 
Satisfactory?" .1911:217. 

Peter    Christian    Lutkin,    Pres.    Northwestern    Uni., 

Evanston,  Illinois. 

477.  Music  Teachers'  National  Association 1912. 

Address  of  Welcome 1912 :7. 

Pres.   James   M.   Tylor,   L.   L.   D.,   Vassar   College, 

Ploughkeepsie,  N.  Y. 
Address  of  Welcome 1912:9. 

John  C.  Griggs,  Vassar  College,  Ploughkeepsie,  N.  Y. 
"Physics  and  Music" 1912:36. 

Prof.  Edna  Carter,  Vassar  College,  Ploughkeepsie,  N.  Y. 
"The  College  Conservatory  of  Music" 1912:60. 

Prof.  J.  Laurence  Erb,  Uni.  of  Wooster,  Wooster,  Ohio. 
"The  Regeneration  of  Philistra" 1912:70. 

Prof.  Leo  R.  Lewis,  Tufts  College,  Mass. 

478.  Music  Teachers'  National  Association 1913. 

"  Music  in  Cincinnati " 1913. 

Frank  R.  Ellis. 
"  Municipal  Music  in  New  York  City" 1913:16. 

Arthur  Farwell,  Supervisor  of  Municipal  Concerts. 


341 

" Music  as  a  Factor  in  Social  Uplift" 1913:25 

Mrs.  Adolph  Klein,  Cincinnati,  Ohio. 
"The  National  Federation  of  Music  Clubs" 1913-31 

Mrs.  Ella  May  Smith,  Columbus,  O. 
"The  Need  of  Correlation  Between  the  Private  and  the 

Public  School  Music  Teacher" 1913-154 

W.  Otto  Miessner,  Oak  Park,  Illinois. 
"The  Language  Method  in  Teaching  Appreciation" 1913:161. 

Edward  B.  Birge,  Indianapolis,  Ind. 
"An  Unsuspected  Popular  Instinct  for  Musical  Education  " .  1913 :179. 

Ralph  L.  Baldwin,  Hartford,  Conn. 
"The  Measurement  of  Musical  Talent" 1913:210. 

C.  E.  Seashore,  Prof,  of  Psychology,  University  of  Iowa. 
"The  Standardization  of  Music  Teaching" 1913:219. 

Discussion  by  five  members. 

"Cooperation  Between  Musical  Societies" 1913:240. 

479.    "The  Town  Crier" Dec.  19,  1914:42. 

Northwest  Quarterly  Musical  Review. 


DIVISION  X. 
EDUCATIONAL  BOOKS. 

480.  Bagley,  William  Chandler. 

Prof,  of  Education,  Illinois  University. 
"Educational  Values." 

Macmillan  Co.,  N.  Y.,  1911. 

481.  Boyer,  Charles  C.,  Ph.  D. 

Prof,  of  Pedagogy,  Keystone  State  Normal  School,  Kutztown,  Pa. 
"Principles  and  Methods  of  Teaching." 

J.  B.  Lipincott  Co.,  Philadelphia,  Penn.,  1900. 

482.  California  Teachers'  Association 1900. 

Report  of  Music  Department. 

"The  Growth  of  Children  in  Musical  Sensitiveness." 
Edward  H.  Starbuck,  Stanford  University. 

483.  Columbia  University  Contributions  to  Education. 

Teachers  College  Series.     1912,  Chap.  V. 

484.  Commissioner  of  Education Vol.  2,  1913:193. 

485.  Department  of  Interior,  Bureau  of  Education. 

Washington,  D.  C.,  Dec.  21,  1891. 

486.  Encyclopaedia  Britannica. 

Cambridge  Uni.  Press,  1911. 

487.  Gillette,  John  M. 

Prof,  of  Sociology  in  University  of  South  Dakota. 
"Vocational  Education." 

American  Book  Co.,  N.  Y.,  Cin.,  Chicago. 

488.  Hall,  G.  Stanley 

Pres.  of  Clark  University  and  Prof,  of  Psychology  and  Pedagogy. 
"Educations  Problems." 

D.  Appleton  and  Co.,  N.  Y.  and  London,  1911. 

489.  Hall,  G.  Stanley 

"Adolescence." 

490.  Holland,  Earnest  O.,  Ph.  D. 

Sup't  of  Schools,  Louisville,  Kentucky. 

"Columbia  University  Contributions  to  Education." 
Teachers  College  Series,  1912. 

491.  Kiddle  and  Schem. 

Cyclopaedia  of  Education. 


342 

492.  Leathes,  Stanley,  C.  B.,  A.  M. 

"What  is  Education." 

G.  Bell  and  Co.,  London,  1913. 

493.  Maennel,  Dr.  S. 

Prin.  of  Public  School,  No.  55,  Manhattan,  N.  Y. 

Auxiliary  Education — "The  Care  and  Training  of  Backward 
Children." 

Doubleday,  Page  and  Co.,  N.  Y.,  1909. 

494.  Monroe,  Paul 

Prof,  of  History  of  Education,  Teachers'  College,  Columbia. 
Cyclopaedia  of  Education. 

The  Macmillan  Co.,  N.  Y.,  1911. 
494b.  Partridge,  George  Everett 

Formerly  Teacher  in  Clark  University. 
"Philosophy  of  Education." 

Sturgis  and  Walton  Co.,  N.  Y.,  1912. 

495.  Patterson's  Educational  Directory 1914. 

American  Educational  Co.,  Chicago  and  N.  Y. 

496.  Shaw,  Edward  Richard 

Prof,  of  Pedagogy,  New  York  University. 
"School  Hygiene." 

497.  Thwing,  Franklin 

Prof,  of  Western  Reserve  University  and  Adelbert  College, 
Cleveland,  Ohio. 

"Education  in  the  United  States  Since  the  Civil  War." 
Houghton,  Mifflin  Co.,  Bos.,  N.  Y.,  Chicago,  1910. 

498.  Tyler,  John  Mason 

Prof,  of  Biology  in  Amherst  College. 
"Growth  and  Education." 
Houghton,  Mifflin  and  Co.,  Boston  and  N.  Y.,  1907. 

DIVISION  XI. 
EDUCATIONAL  MAGAZINES. 

499.  Pedagogical  Seminary Vol.  15,  1908. 

"The  Function  of  Music  in  the  College  Curriculum" 1908:117 

G.  Stanley  Hall,  Pres.  of  Clark  Uni.  and  Prof,  of 
Psychology  and  Pedagogy. 

"The  Psychology  of  Music  and  the  Light  it  Throws  on 

Musical  Education" 1903:358. 

G.  Stanley  Hall. 

500.  Journal  of  Education Vol.  33,  1911. 

"Bernard  Shaw  on  Education." 
B.  J.  C.  Millington,  A.  M. 

501.  Journal  of  Education Vol.  34,  1912. 

"Home  Music  Study  Union" — Letter  to  the  Journal 1912:215. 

502.  Education Vo.  28,  Feb.,  1908. 

"Are  We  Making  too  Much  of  Music?" 1908:361. 

Austin  Brerbower,  Chicago,  111. 

503.  Education Vol.  28,  June,  1908. 

"The  Worth  of  Music  in  Education" 1908:646. 

Luther  L.  Fentress,  New  York  City. 

504.  National  Educational  Association 1908. 

"Music  in  the  High  School" 1908:844. 

Osbourne  McConathy,  Sup't  of  Music,  Chelsea,  Mass. 
"Music   in   the    Schools   from   the   Standpoint   of   the 

Superintendent" 1908:840. 

Wm.    McKendree   Vance,    Sup't   of   Public   Schools, 

Delaware,  Ohio. 


343 

"Our  National  Music" 1908:836 

Mr.  Francis  Elliott  Clark,  Pres.  of  the  Dep'it! 

505.  National  Educational  Association 1909. 

"The  Status  of  Music  in  the  United  States" 1909:675. 

Mrs.  Francis  E.  Clark,  Sup't  of  Public  Schools,  Mil- 
waukee, Wis. 
"Report  of  Committee  on  Terminology" 1909:691. 

Charles  I.  Rice,  Director  of  Music,  Worcester,  Mass. 
"Our  National  Songs" 1909:695. 

Elmer  Ellsworth  Brown,  United  States  Commissioner 

of  Ed.,  Washington,  D.  C. 
"Music  on  an  Accredited  Bais" 1909:696 

John  R.  Kirk,  Pres.  of  State  Normal  School,  Kirkville, 

Mo. 
"Modern  Psychology  and  Music  Study" 1909:687. 

Will  Grant  Chambers,  Prof.'  of  Education,  Uni.  cf 

Pittsburg,  Pittsburg,  Pa. 

506.  National  Educational  Association 1910. 

"Boston  the  Cradle  of  Public  School  Music  in  America".  1910:798. 

Charles  I.  Rice,  Director  of  Music  in  Public  Schools, 

Worcester,  Mass. 
"The  Automatic  Players  in  the  Schools" 1910:808. 

John    G.    Thompson,    Prin.    State    Normal    School, 

Fitchburg,  Mass. 
"High  School  Orchestras" . 1910:815. 

Edward  B.  Birge,  Indianapolis,  Ind. 
"Some  of  the  Defects  of  Music  Instruction  in  the  Schools "1910:822. 

John   M.   Cook,   Pres.   Northern  111.   State  Normal, 

DeKalb,  111. 

507.  National  Educational  Association 1911. 

"Music  in  the  College" 1911:803. 

Arthur  Toote',  Boston,  Mass. 

"Public  School  Music  in  Relation  to  the  Music  of  the 
Community" 1911:790. 

Elsie  M.  Shawe,  Supervisor  of  Music  in  Public  Schools, 

St.  Paul,  Minn. 

"The  Opportunity  and  the  Responsibility  of  Normal 
Schools  in  Public  School  Music" 1911:822 

C.    A.    Fullerton,    Director   of    Music,    Iowa    State 

Teachers'  College,  Cedar  Falls,  Iowa. 

508.  National  Educational  Association 1912 

"A  Presentation  of  the  High  School  Course  Which  Was 
Adopted  by  Music  Supervisors'  National  Conference: 

What  It  Is  and  How  to  Administer" 1912:1004. 

Will    Earhart,    Director    of    Music,    Public    Schools, 
Pittsburg,  Pa. 

"The  Making  of  a  Musician" 1912:1014. 

Eleanor  Smith,  Chicago,  111. 

509.  National  Educational  Association 1913. 

"Music  and  Ethics" 1913:602. 

A.  E.  Winship,  Editor  of  Jour,  of  Educ.,  Boston,  Mass. 
"Music  and  the  Social  Problem" 1913:604. 

Lucy  K.  Cole,  Supervisor  of  Music  in  Public  Schools, 

Seattle,  Wash. 
"Hints  to  Supervisors" 1913:613. 

Wm.  A.  Wetzell,  Supervisor  of  Music  in  Public  Schools, 

Salt  Lake  City,  Utah. 


344 

DIVISION  XII. 
PHILOSOPHY  AND  PSYCHOLOGY  BOOKS. 

510.  Bartholomew,  Edward  F.,  Ph.  D.,  D.  D. 

Prof,    of    English    Literature    and    Philosophy    in    Augustana 
College  and  Conservatory. 

"Relation  of  Psychology  to  Music." 

The  New  Era  Pub.  Co.,  Rock  Island,  111.,  1902. 

511.  Davies,  Henry,  Ph.  D. 

Formerly  Lecturer  on  Philosophy  and  Aesthetics  at  Yale. 
"Art  in  Education  and -Life." 

R.  G.  Adams  and  Co.,  Columbus,  Ohio,  1914. 

512.  Him 

Lecturer  of  Aesthetic  and  Modern  Literature  at  University  of 
Finland,  Helsingfors. 
"The  Origins  of  Art." 

513.  Santayana,  George 

"The  Sense  of  Beauty." 
Chas.  Scribner's  Sons,  N.  Y.,  1900. 

514.  Stumpf,  Carl 

Prof,  of  Psychology  in  Berlin  University. 

"The  Psychology  of  Tone — The  Degrees  of  Tonal  Fusion," 
from  "The  Classical  Psychologists." 

Compiled  by  Benjamin  Rand,  Harvard  University. 

515.  Tolstoy,  Leo 

"What  Is  Art?"— From  the  Russian. 
Thomas  Y.  Crowell  &  Co.,  46  East  14th  St.,  N.  Y.,  1890. 

516.  Wundt,  Wilhelm 

Outlines  of  Psychology. 

"Complete  Feeling."     P.  175. 

DIVISION  XIII. 
PSYCHOLOGY  MAGAZINES. 

517.  American  Journal  of  Psychology Vol.  1,  1887-88. 

"Muscle  Sense  in  Singing" 1887-88:205. 

H.  Beaunis. 

518.  American  Journal  of  Psychology Vol.  2,  1888-89. 

"Morbid  Psychology— Musical  Expression" 1888-89:175,347. 

H.  Oppenheim. 

519.  American  Journal  of  Psychology Vol.  4,  1891. 

"Report  of  Experimental  Test  of  Musical   Ex- 
pressiveness"  1891:558. 

Benjamin  Ives  Gilman. 

520.  American  Journal  of  Psychology Vol.  5,  1892-93. 

Article  519  continued 1892-93:42. 

521.  American  Journal  of  Psychology Vol.  6,  1893-95. 

"Primitive  Music" • 1893-95:459. 

(R.  Wallascheck,  London,  1893,  XI:326.) 

522.  American  Journal  of  Psychology Vol.  7,  1895-96. 

"  Music  and  Psycho-Physiology" 1895-96:440. 

" Music  and  Philosophy" 1895-96:440. 

"Binet    and    Courtier    Experiment    for    Piano 
Playing" 1895-96:576. 

523.  American  Journal  of  Psychology Vol.  9,  1897-98. 

"A  Musical  Experiment" 1897-98  :(J3. 

June  E.  Downey,  Uni.  of  Chicago. 


345 

"Distraction  of  Musical  Sounds;    Effect  of  Pitch 

Upon  Attention" 1897-98:332 

From  Psychol.  Laboratory  of  Cornell  Uni. 
L.  Darlington  and  E.  B.  Talbot. 

524.  American  Journal  of  Psychology Vol.  12,  1900-01. 

"  Contribution  to  a  Psychological  Theory  of  Music" .  1900-01 :609. 
Uni.  of  Mo.  Studies,  Vol.  June,  1901:80. 
Prof.  Max  Meyer,  Uni.  of  Mo. 

525.  American  Journal  of  Psychology Vol.  14,  1903. 

"Experimental  Studies  in  the  Psychology  of  Music  " .  1903 : 192. 
Prof.  Max  Meyer. 

526.  American  Journal  of  Psychology Vol.  23,  1912. 

"An  Experimental  Study  of  Musical  Enjoyment" .  .1912:245. 
From  Laboratory,  Clark  Uni.,  Harry  Porter  Wald. 

527.  Journal  of  Educational  Psychology .June,  1910. 

"Training  the  Voice  by  the  Aid  of  the  Eye  in 
Singing." 
Seashore  and  Jenner,  Uni.  of  Iowa. 

528.  Journal  of  Educational  Psychology. 

Studies  from  Cornell  Laboratory  No.  18. 
"The  Psychology  of  Piano  Instruction." 
Christian  A.  Rucknich,  Ph.  D. 

529.  The  Psychological  Monograph July  2,  1914. 

"The  Tonoscope." 

C.  E.  Seashore,  Uni.  of  Iowa. 

530.  Psychological  Review Vol.  5,  1898. 

"Music  Imagery — A  Confession  of  Experience".  .  .1898:463. 
Dr.  Robert  Macdougal,  Western  Reserve  Uni. 

531.  Psychological  Review Vol.  7,  1900. 

"Elements  of  Psychology,  Theory  of  Melody".  .  .  .1900:241. 
Max  Meyer,  Ph.  D.,  Honorary  Fellow  in  Psych- 
ology at  Clark  University. 

532.  Harvard  Psychological  Studies Vol.  1:39. 

"The  Structure  of  Simple  Rhythm  Forms" 
Robert  Macdougal. 

533.  Doctor's  Theses  in  Psychology Vol.  1. 

Iowa  State  University. 

a.  "Variation  in  Pitch  Discrimination  Within  the  Tonal  Range  " 

Thomas  Franklin  Vance. 

b.  "The  Effect  of  Training  in  Pitch  Discrimination." 

Franklin  Orion  Smith. 

c.  "Accuracy  of  the  Voice  in  Simple  Pitch  Singing." 

Walter  R.  Miles. 

DIVISION  XIV. 

GENERAL  MAGAZINES. 

534.  Atlantic  Monthly 

Houghton,  Mifflin  Co.,  Riverside  Press. 

a.  "Musical  Education  and  Automatics" Vol.  101;  1908:383. 

Leo  Rich  Lewis. 

b.  "The  Industry  of  Music  Making" Vol.  101,  1908:91. 

William  E.  Walter. 

c.  "Modernism  in  Music" 1910:42. 

d.  "Musical  Indigestion" Vol.  108,  1911:490. 

Robert  Haven  Schauffler. 

535.  The  Nation Vol.    86,  1908. 

New  York  Evening  Post  Co. 

"Music    Studies   in    Musical    Education,    History   and 
Aesthetics"..  ....1908:269 


346 

536.  The  Outlook 

The  Outlook  Co.,  N.  Y.  City. 

a.  "Educated  Men  and  Music" Vol.  88,  1908:617. 

b.  "Music  in  New  York  City" Vol.  88,1908:63. 

c.  "Music  and  East  Side  Children" Vol.  88,  1908:427. 

Thomas  Tapper. 

d.  "The  Music  Layman" Vol.    90,  1908:494 

Arthur  Whiting. 

e.  "Good  Music  for  All" Vol.    93,  1909:327. 

f.  "The  College  Man  and  Music" Vol.    94,  1910:809. 

Daniel  Gregory  Mason. 

g.  "Music  and  City  Children" Vol.    97,1911:483. 

h.    "Music  School  Settlement" Vol.    98,  1911:233. 

i.     "American  Music" Vol.  100,  1912:764. 

j.     "Music  and  the  University" Vol.  102,  1912:787. 

k.    "American  Music  Pilgrimages" Vol.  104,  1913:311. 

1.     "The  Wisconsin  Idea  of  Music" Vol.  105,  1913:509. 

537.  World  Today 1910. 

World  Today  Co.,  Chicago,  111. 

"A  Chicago  May  Festival" Vol.    19,  1910:700. 

"Pop-Concerts  in  Chicago" Vol.    18,  1910:360. 


DIVISION  XV. 
MISCELLANEOUS  CLIPPINGS. 

538.  Lincoln  Daily \ 1914. 

Extract  by  C.  P.  Gary,  State  Superintendent. 

539.  Lincoln  Daily Mar.    7,  1915. 

Quotation  from  "Thursday  Musical  Clarion." 

540.  Lincoln  Daily  Star Oct.  25,  1914. 

Maine  Festival. 

541.  Lincoln  Daily  Star 1915. 

Questionnaire  to  Supervisors. 

542.  Lincoln  Daily  Star May  16,  1915. 

Paderewski  and  De  Pachmann  on  Piano  Playing. 

543.  State  Journal 1915. 

School  Music  in  Kansas. 


SUMMARY  OF  VOLUMES  CONSULTED 
AND  COMMUNICATIONS. 

State  Superintendents'  Reports 143 

Normal  Catalogs 87 

University  and  College  Catalogs 931 

Questionnaires  sent  out : • .  .  .  .  520 

Musical  Books 7 

Musical  Magazine 9 

Educational  Books 

Educational  Magazines 11 

Philosophical  and  Psychological  Books 7 

Psychological  Magazines 17 

General  Magazines 19 

Clippings 6 


347 


INDEX  OF  SUBJECTS 


PAGE 

Adolescence 272,  297,  298 

Adolescence,  the  time  for  master- 
pieces   '.  298 

Adult  tests  in  pianoforte  study.  .  .285 

Affiliated  conservatories  ....  120, 129, 

155,167,170.180,192,266,267 

Aim  of  adult  tests 283,  284 

Aim  of  thesis 1,2,  283 

Alabama 21,79,  128 

Alaska 44 

American  federation  of  music 

school  settlements 224 

American  home  life  unstable 277 

American  Society  at  Philadelphia. 215 

Arrusia 235 

Aphasia 235 

Applied  studies  upon  the  curri- 
culum  299 

Arizona 39,  88, 194 

Arkansas 23,81,132 

Arrested  development 1,  296 

Art  an  outlet  for  emotion 275 

Art  life  one  of  sacrifice 280 

Artist  services  in  demand 69 

Artist  series  in  colleges 97, 108, 

144, 190, 199 
Artists  a  possibility  upon  college 

faculty 207 

Art  training,  exclusively,  en- 
dangers stability 278,  279 

Art  training  vs.  college  study.  .  1,  278 

Association  of  intervals 303 

Attitude  toward  school  music ....  5,  7, 
13,  18,  21,  22,  25,  28,  30,  32, 
33,  34,  35,  40,  66,  67,  77,  87, 
212,  220,  222,  278 
Attitude  of  musician  versus  that 

of  philosopher 281 

Attitude  of  university  toward 

music... 278,279,313, 

Author's  plan  of  instruction. 283,  284, 
285,291,297,299 

Bach  festival  at  South  Bethlehem .  220 
Bachelor  of  music  degrees  granted .  38, 
100,  103,  107,  110,  117,  119, 
121,  126,  130,  133,  138,  139, 
141,  143,  146,  147,  149,  152, 
157,  161,  162,  165,  167,  168, 
169,  170,  171,  172,  173,  176, 
181,  182,  184,  187,  189,  197, 
199,  200,  201,  205 

199,200,201,205 

Balance  in  education  necessary. .  .275 
Bands  and  orchestras  in  Nebraska 

high  schools 265 

Binding  tie  in  home  life  lacking .  .  277 


PAGE 

Board  of  education  actively 

interested 42 

Book  agencies. 268 

Book  agencies  train  public  school 

music  teachers 243 

Books,  educational 341 

Books,  musical 337 

Books,  philosophical 344 

Books,  psychological 344 

Boston  school  committee  report ....  7 
Boy  choirs 220 

California 44,  91,  203 

Catalog  references 321,  323 

Cause  of  failure  in  musical 

training 298 

Certificate  for  public  school  music.  12, 

16,  19,  20,  23,  24,  27,  29,  31, 

33,  35,  38,  39,  40,  42,  44,  58, 

75,  79,  85,  86,  87,  88,  89 

Certification  of  music  teachers. . .  .42, 

222,223 

Characteristics  of  different  local- 
ities  252 

Characteristics  of  private  music 

study  in  Lincoln  schools 250 

Child  life  and  training 272 

Children's  choruses 220,  225,  228 

Children's  settlement  orchestras.  .225 

Child  welfare  exhibit 225 

Choral  organizatipn 227 

Choruses  or  festivals .219,  225 

Church  choruses 220,  221 

Class  training  in  music 300 

Collection  of  musical  instruments. 2 14 
Colleges  by  names,  (table  of  contents) 
College  catalogs  and  magazines. .  .323 
College  conservatories. .  .224,  286,  267 
Colleges  cooperate  with  musical 

organizations. . .  16,  97,  107, 110,  222 

College  correspondence 335 

College  courses 95 

College  degrees  in  music .  96, 110, 112, 
117,124,130,131,138,  164 
College  departments  and  chairs  of 

music 95 

College  enrollment 107, 116, 125, 

139, 150, 161, 168,  177, 
186,  191,  192,  198,  202 

(Minor  enrollments  under  each 

college) 
College  entrance  requirements  an 

issue  110,163 

Colorado 39,87,192 

Combination  of  teaching  subjects. 28, 
30,  31,  35,  37,  38,  39,  43,  63, 
65,83,  156,158,  161,193,312 


348 


PAGE 

Combinations  advised  in  college 
course 148, 161 

Commercializing  agencies  in 

school  music 268 

Committee  of  educators  consider 
school  music.  .7,  11,  17,  18,  19,  20, 
23,  25,  29,  30,  81,  110,  222 

Community  music 67, 164, 

175,218,219,277 

Comparison  between  American 
and  foreign  training 277 

Comparison  of  musical  and  schol- 
astic training 281 

Comparison  of  present  conditions 
and  author's  system 266 

Comparison     of    private    music 
study  in  four  towns 251 

Comparison  of  school  studies       9, 12, 
16,21,24,29,32,33,40,41 

Comparison  of  state  expense  for 
music  and  cost  of  private  study .  263 

Concerted  settlement  work ......  224 

Conclusions  from  tests 295 

Conditions  of  American  music  life .  275, 

279,  280 

Conditions  of  private  music  study 
in  Nebraska  schools. .  .264,  265,  266 

Conformity  of  musical  training  to 
child  development 284 

Connecticut 8,  75,  96 

Conservatory  training 11, 16, 17, 

36,38,41,42,54 

Conservatories 1,  266 

Consul  in  Paris  advises  art  train- 
ing in  American  schools 276 

Contact  of  scholastic  and  musical 
study  and  its  result 236 

Contests,  musical 11, 19,  66,  175 

Cooperation  of  supervisors 11 

Correlation  of  music  course  with 
other  studies 303 

Correspondence 2 

Correspondence  with  state  super- 
intendents   334 

Correspondence  with  universities 
and  colleges 335 

Correspondence  with  three  and 
four  year  high  schools 336 

Correspondence  with  western  col- 
Correspondence  with  western 
colleges    concerning    chairs 
of  music 97,107,111 

Cost  of  private  music  study  in 

Nebraska  high  schools 262 

Cost  of  private  music  study  in 

Lincoln,  Nebraska 250 

Craving  for  social  dissipation  a 
disease.  .  .  .274 


PAGE 

Credit  for  school  music  ....  14, 15,  17, 
29,30,34,39,88 

Credit  for  private  music  study .  .  7, 14, 
30,  37,  42,  43,  49,  68,  238,  242 
Credit  for  private  music  study  in 

Washington  state 242 

Curriculum  for  the  college 

musician 309,310 

Damrosch  chorus 220 

Dedication , front 

Defects  in  modern  music 

teaching 280 

Defects  in  private  music  teaching.  .1, 
282,  283,  298,  307 

Degredation  of  musical  degrees. .  .267 
"Degree  of  distinction  in  music".  .98 

Delaware 15,76,122 

Demand  for  supervisors.  .  .7,  9,  14,  58 
Demand  made  upon  music  by 

colleges 314 

Department  of  interior  list  of 

college  extensions. 216 

Developmental  stages  of  child  life. 272 

Disaggregation  and  its  effect 235 

Distraction  of  attention 231 

Distribution  of  supervisors 63,  64 

District  of  Columbia 123 

Doctor  of  philosophy  in  music ....  97 

Dunning  system 198 

Durgin  suggests  course  for  grade 

teachers 74 

Earhart  school  music  pamphlet. . .  .69 

Education  and  its  meaning 271 

Education  and  its  aim 271 

Education  a  preparation  for  life.  .271 

Education,  book  references 341 

Education,  magazine  references.  .342 
Education  must  conform  to  life.  .274, 

298 

Education  preserves  past  ideals  .  .  274 
Educational  conditions  in  normals .  73 

Educational  extension 215 

Educational  ideal  too  intellectual. 278 
Educational  value  of  college 

music 100,  104 

Educational  tendency 298 

Educational  value  of  music.  .  .  .17,  87, 
212,220,227 

Educational  value  of  school  music.  14, 
17,  18,25,34,39,41,42,44 

Endowed  conservatories 227 

Entrance  credit  for  music.  97,  100, 101, 
103,105,111,114,127,142,172, 
175,  185,  195,  196,  202,  203,  204 

"Essential  standard" .223 

Estimated  cost  of  private  music 

study  in  Nebraska 37,  262 


349 


PAGE 

Estimated  cost  of  private  music 
study  in  Lincoln  public  schools. 250 

Estimated    cost    of   rural   music 
study  in  Nebraska 263 

Examination  for  normal  entrance . .  74 

Examination    for    teachers'    cer- 
tificate ....  12,  24,  27,  29,  31,  35,  38, 
40,  42,  44,  58,  75,  87,  85,  86,  88,  89 

Examination  questions  for  music 

teachers 9, 12, 19, 

24,25,31,34,223 

"Exchange  concerts" 162 

Exchange   courses   between   col- 
leges and  conservatories. ... 97, 120, 
129, 137, 167,  180 

Experiment  upon  musical  enjoy- 
ment  232 

Extension  courses  in  college.  .99, 110, 
161,  169, 175,  193,  199,215,  217 

Extension  pamphlets f.  . .  .337 

Extension  teaching '.  .  .  .215 

Festivals,  musical .  .      .  .  12, 13,  32,  34, 
39,99,171,175,219,277 
Financial  plan  for  author's 

system 300,304 

Financial  waste  in  private  study.  .263, 

266 

Florida 19,78,126 

Folk  dancing 226 

Function  of  a  liberal  education.  .  .313 
Fundamental  basis  of  author's 

system 300 

Future  development  of  music.  .  .207, 

237,297 
Future  teacher 273 

General  magazine  references 345 

General  conclusions  of  thesis, 

weakness  of  present  conditions. 3 13 

Georgia 18,  78,  126 

Grade  teachers'  course  suggested.  .74 

Graduate  courses  in  music 98, 

114,193 
Graphic  method  in  piano  study.  .233 

G  roup  instruction 300 

Growth  of  college  music 217 

Growth  of  musical  instinct 229 

Growth  of  school  music.  .6,  7,  8,  9, 10, 
11,  13,  16,  17,  18,  20,  23,  28, 
29,  31,  33,  34,  35,  38,  41,  66, 
67,  68,  113,  208,  212,  218, 
220,  222 

Growth  of  scientific  study  in  uni- 
versity laboratories 236 

Hartford  private  music  study  in 
high  schools 239 


PAGE 

History  of  college  chairs  of  music . .  95, 
96,  99,  100,  102,  103,  104, 
106,  109,  112,  114,  116,  119, 
123,  124,  125,  126,  127,  128, 
129,  131,  132,  133,  135,  136, 
140,  142,  144,  145,  154,  158, 
163,  166,  171,  174,  175,  179, 
183,  187,  190,  191,  192,  193, 
194,  195,  196,  197,  198,  201, 
203,  204 

"Honor"  in  music" 96 

Honorary  doctor  of  music  degree. 210 
Hull  House  music  settlement 227 

Idaho 41,89,197 

Illinois 28,  83, 142 

Inadequacy  of  school  music 7, 15, 

20,  22,  29,  30,  36,  37,  38, 
74,  86,  208,  224 
Inborn  love  of  the  best  music .  281,  282 

Indiana 25,82,140 

Indifference  results  in  degredation 

of  artists 280 

Individuality  weakening 284 

Initiative  lacking 284,  302 

Institute,  musical  instruction. .  14,  28, 
35,41,67,86 

Introduction 5,  94 

Introspection  in  music 232 

Iowa 31,84,  166 


Kansas. . . . 
Kentucky . 


.38,86,183 
.20,78,127 


Lack  of  uniformity  in  school  music . .  7, 

10,16,29,39,46 

Lantern  slide  illustrations .  .  .  .  95,  212 

Law  of  Arizona 39,  88 

Law  of  Arkansas 23 

Law  of  Maine 6 

Law  of  New  Hampshire 73 

Law  of  North  Dakota 35 

Law  of  Ohio 24 

Law  of  Pennsylvania 75 

Law  of  South  Dakota 35 

Legislation  needed 7, 11,  37 

Leschetizky  method 198,  285 

Libraries  consulted .2 

Library  piano  rolls  for  circulation. 2 18 
Lincoln  (Nebraska)  statistics  for 

private  music  study 245 

Location  of  musical  faculty 236 

Louisiana 22,80,129 

Magazines,educationl  (references) .  342 
Magazines,  general  (references). .  .345 

Magazines,  musical 

Magazines,  musical  (references) .  .  337 
Magazines,  psychological  (ref.).    .344 


350 


PAGE 

Magazines,  university  (references) 323 

Magazines,  university  (ref.) 323 

"Maidstone  Movement" 301 

Maine 6,73,95 

Marey  tambour 233 

Maryland 16,  76,  122 

Master  of  arts  in  music 97 

Master  of  music 172 

Massachusetts 6,  74,  96 

Mechanical  players  in  colleges.  12, 15, 
42,54,97,99,104,212 

Men  entering  profession 8,  20, 

39,63,65 

Men  lack  sensitiveness 276 

Mentality  of  music  pupils 1 

Method  of  distracting  attention.  .231 

Methods  used  in  tests 285 

Michigan 29,83,154 

Modern  educational  tendency 2, 

274,278,313 

Montana 38.  86, 190 

Minnesota 31,  84,  163 

Miscellaneous  paper  clippings ....  346 

Mississippi 22,  79, 128 

Missouri 31,84,  171 

Motor  musical  aphasia 236 

Municipal  concerts .  225,  228,  229,  280 

Muscle  sense  in  music 236 

Musical  festival 12, 13, 

32,34,39,219 

Musical  book  references 337 

Musical  conditions 12 

Musical  contests 11,  19,  66,  175 

"Musical  evenings" 228 

Musical  festivals 12, 13,  32,  34, 

99,156,171,175,219,277 
Musical  instruments  for  demon- 
stration in  class 1 5,  42,  54,  98 

Musical  libraries 104,  137,  212 

Musical  organizations 221 

Music  a  tool  of  the  coarser  social 

elements 280 

Music  consciousness 233 

"Music  Education  in  the  United 
States,"  by  Arthur  L.  Man- 
chester  214 

Music  halls 97, 107, 137,  146 

Music  imagery 233 

Music  is  an  instinct 278 

Music  in  the  public  schools 5 

M  usic  neutralizes  muscular  fatigue .  232 
Music  neutralizes  muscular 

fatigue 

Music   required   for   normal 

entrance 73 

Music  requires  state  supervision.  .278 

Music  training  for  all 299 

Music  taught  as  a  language 8,  42 


.        PAGE 

National  music  expression 227 

Nebraska 36,  85, 179 

Nebraska  estimate  for  private 

music  study 262 

Nebraska    high    school    corre- 
spondence   336 

Nebraska  high  school  private 

music  study 253 

Need  for  scientific  music  teachers. 298 

Need  of  the  day  in  music 314 

Nevada 41,  89,  196 

New  Hampshire 6,  73,  95 

New  Jersey 11,  75, 119 

New  Mexico 39,  87, 193 

New  York 10,  75, 109 

New  York  City  settlement 

teaching 224 

Newspaper  clippings 346 

Normal  musical  development ....  297 
Normal  public  school  music 

courses 7,  8,  14,  15,  16,  17,  18, 

Normal  public  school  music  courses. 7, 
8,  14,  15,  16,  17,  18,  19,  20, 
22,  23,  29,  30,  31,  32,  33,  35, 
36,  38,  39,  40,  41,  42,  44,  54, 
65,  66,  73,  74,  75,  76,  77,  78, 
79,  81,  82,  83,  84,  85,  86,  87, 
88,  89,  90,  91 

Normal  public  school  music  curri- 
culum   74,  75,  77,  78,  79,  82, 

83,  84,  86,  87,  88,  89,  90,  91 

Normal  school  catalogs 321 

Normal  school  conservatories.  .20,  41, 
42,  54,  78,  80,  82,  83,  86,  90 

Normal  schools 73 

Normal  training  in  university  for 
author's  system  of  instruction.  .310 

North  American  Sangerbund 219 

North  Carolina 17,  77, 125 

North  Dakota 35,  85,  175 

Ohio..  ..24,82,135 

Oklahoma 23,  82, 133 

Opera  association  in  college 98 

Orchestral  concerts  for  school 

children 226 

Orchestral  concerts  necessary ....  229 
Orchestras  and  bands  in  Nebraska 

high  schools 265 

Orchestrelle 97,  99,  212 

Oregon 42,90,201 

Organizations,  musical 221 

Organized  play 225 

Organ  recitals  free 226 

Origin  of  music 235 

Outline.  .  .'. vii 

Overburdened  childhood. .  .  .283 


Overteaching 


..284 


351 


PAGE 

Paper  clippings 346 

Pageant  of  Nebraska  university.  .221 

Past  aim  of  education 276 

Pamphlets 25,337 

Peculiarity  of  Lincoln  private 

*study 251 

Pennsylvania 12,  75, 119 

Per  cent  of  private  study  in 

Nebraska  high  schools 262 

Philippine  Islands 45 

Philosophy  books  (references) ....  344 

Piano  psychology 234 

Pianos  purchased 13, 17,  42 

Pitch  sensitiveness 233 

Position  playing 301 

"Pop"  concerts 228 

Porto  Rico 45 

Possible  future  tendency  of  music 

study 45,236 

Preface 1 

Preparation  of  public  school 

music  teacher 20,  25,  29,  31, 

35,38,40,41,43,44,45 

Present  conditions  in  music 

training 281 

Present  status  of  music  in  New 
England,  New  York  and  New 
Jersey 239 

Private  conservatory  offers  courses. 7, 
11,16,36,37,54,74,86 

Private  enterprise  purchases  pianos .  17 
Private  music  cost  in  Nebraska  .  .  262 

Private  music  study 7, 14,  30' 

37,42,49,238 

Private  music  study  in  Nebraska 

high  schools .  .  253 

Private  music  study  in  public 

schools  of  Lincoln,  Nebraska. .  .245 
Private  music  study  in  Washing- 
ton state 242 

Private  subscription  for  school 

music  teacher 10 

Problem  of  modern  education .  267,  268 

Psychology  of  music 232,  275 

Psychology  of  piano  instruction .  .  233 

Psychological  research 229 

Psycho-physical  tests  upon  school 

children 233 

Psychological  book  references  ....  344 
Psychological  magazine  references .  344 
Psychological  laboratory  research 
in  music. .  ...  .229 


PAGE 

Public  school  music  courses  in 

college 102, 105, 107, 113, 117, 

119,  122,  123,  124,  125,  126, 
130,  131,  132,  133,  135,  138, 
139,  140,  141,  142,  147,  149, 
151,  153,  156,  157,  159,  161, 
162,  164,  165,  167,  168,  169, 
170,  171,  172,  175,  177,  178, 
181,  182,  184,  187,  189,  190, 
194,  195,  196,  197,  198,  199, 
200,  201,  203 

Public  school  music  summary 65 

Questionnaire  on  credit  for  private 
music  study  in  Washington 

'  state 42,242 

Questionnaire  sent  to  Nebraska 
high  schools  concerning  private 
music  study 253 

Questionnaire  to  state  super- 
intendents   46 

Questions  for  teachers'  examina- 
tion  9,19,25,27,34 

Recognition  of  music  by  colleges.  .  17, 
18,22,29,31,36,42,45,222 
Recognition  to  school  music,  how 

long  and  in  what  grades 46 

Recreation  pier  concerts 226 

Regents'  requirements  of  New 

York 10,15,75 

Renaissance  in  education 42,  68, 

271,236 

Report  of  school  music 7,12, 13, 

14,16,21,24,29,32,33,37,40 
Report  of  state  superintendents .  .  317 

Report  upon  supervisors 64 

Research  study.  .99, 101,208,214,229 
Research  the  fundamental  cause 

of  reaction  in  school  music.  .  .  .236 
Resolution  of  New  York  state 

examining  board 11 

Russian  exile  turns  to  music 277 

Result  of  neglected  scholastic 

training 1,278 

Result  of  purely  art  training 1,  7 

Result  of  a  sacrifice  of  emotion ...  276 

Rhode  Island 8,74,106 

Robert  Center  fund 109 

Rural  cost  of  private  music  study 

in  Nebraska  estimated 263 

Rural  public  school  music  study.  .  17, 

23,40 

Sadie  Knowland  Coe  music  col-  ( 

lection 218 

Salaries  of  supervisors ....  8,  9, 16, 17, 
20,  24,  33,  35,  37,  43,  44,  64, 107 


352 


PAGE 

Salt  Lake  City  private  music 

study.  . 241 

Salvation  army  music 281 

Scholasticism  and  art 1,  279 

School  laws  of  Arizona 39,  88 

School  laws  of  Maine 6 

School  laws  of  Arkansas 23 

School  laws  of  New  Hampshire ....  73 

School  laws  of  North  Dakota 35 

School  laws  of  Ohio 24 

School  laws  of  Pennsylvania 75 

School  laws  of  South  Dakota 35 

Scope  of  thesis  in  public  school 

section 5 

Settlement  curriculum 225,228 

Settlement  teaching 224,  228 

Sex  instinct  in  education 275 

Sex  instinct  and  its  importance. .  .275 

Song  of  the  slave 277 

Sources  of  thesis  study 2 

South  Carolina 18,  77, 126 

South  Dakota. .35,  85,  175 

Specialization  in  music,  its  place.  .306 
Standardization  of  music 

teachers 223,  224 

Standardization  of  school  music. . .  .7, 
10,  17,  20,  23,  25,  28,  29,  30, 
31,  33,  35,  38,  40,  41,  42,  44, 
46,  66,  67 
State  certification  of  music 

teachers 222 

,  State  recognition  of  music 6,8, 

10,  11,  17,  18,  19,  20,  23,  24, 
25,  29,  30,  31,  33,  37,  39,  40, 
42,  44,  58 

State  superintendents'  report.  .  .  .317 
State  superintendents'  corre- 
spondence   334 

State  universities  and  colleges 95 

State  universities  and  colleges 
(tabulated  by  name) 

table  of  contents 

Statistics  of  private  music  study 
in  public  school  of  Hartford, 

Connecticut 239,  240 

Statistics  of  private  music  study 
in   public  schools  of  Lincoln, 

Nebraska 245 

Statistics  of  private  music  study 
in  three  and  four  year  Nebraska 

high  schools 253 

Statistics  of  private  music  study 
in  public  schools  of  Salt  Lake 

City,  Utah .241 

Statistics  of  private  music  study 
in  public  schools  of  Oak  Park, 

Illinois .  .242 

Statistics    of    New    York,    New 
England  and  New  Jersey 14 


PAGE 
Statistical  table  of  college  chairs 

of  music 206 

Statistical  table  showing  degrees 

held  in  college  chairs  of  music.  .211 
Status  of  private  music  study  in 

the  U.  S 23$ 

Stearns  musical  instruments 156 

Structure  of  rhythms 233 

"Studies  in  melody" 231 

Summary  of  listed  supervisors 64 

Summary  of  public  school  music 

section 65 

Summary  of  university  section  .  .  .  208 

Summary  of  works  consulted 346 

Summer  normal  courses  ....  76,  77,  84 

Sunday  school  song  books 282 

Superficial  display  in  education . . .  277 

Supervision  unions 6, 11, 13,  23 

Survey  of  education 269 

Systems 10,49 

System  needs  modification 274 

System  of  incorporating  musical 

instruction  into  public  schools.  .299 
System  of  incorporating  musical 

instruction  into  high  schools .  .  .  306 
System  of  incorporating  musical 

instruction  into  the  university.  .308 

Table  of  contents ix 

Teachers  of  the  future 273 

Teachers'  task 273 

Teaching  too  complex 271 

Tendency  of  conservatory  training .  267 
Tendency  of  modern  education. .  .276 
Tendency  of  modern  musical 

training 237,279 

Tennessee : 21,  79, 127 

Texas 23,80,131 

Tests  for  voice  in  laboratory 229 

Tests  of  juvenile  class 291 

Tests  of  married  women 286 

Tests  of  university  graduates ....  289 

Tests  of  working  girls 290 

Text  books  used 11, 16,  23, 

39,40,45,48,88 

Theses  for  degrees 112,  118,  208 

Theses  required  in  chairs  of  music. 209 
Three  course  plan  introduced 

music 11 

"Thursday  Morning  Clarion". . .  .218 
Time  given  to  music  inschool 

course 8,  9,  12,  14,  17,  19,  25, 

27,  35,  36,  38,  41,  42,  45,  54, 
75,  82,  84,  86,  88,  90,  91 

Time  at  hand  for  systematic 

music  study 280 

Time  of  service  of  school  music 

teacher. .  ... .35 


353 


PAGE 

Township  supervision  or  con- 
solidation   11, 13,  28,  40,  65 

"Tonic  sol  fa"  syllables 303 

Tonoscope 229,  230 

Transition  anticipates  the  future 

American  music 313,  314 

Transition  period 274 

Training  of  the  child 272 

Triple  aspect  of  music 237 

United  States  possessions 44 

University  and  college  catalogs 
and  magazines 323 

University  and  college  music 

curriculum.  .117,  118,  119,  120,  121, 
122,  123,  124,  125,  126,  127, 
128,  129,  130,  132,  134,  135, 
138,  139,  140,  141,  142,  144, 
145,  149,  150,  151,  152,  153, 
155,  157,  158,  160,  162,  164, 
165,  166,  168,  169,  170,  171, 
172,  173,  174,  175,  178,  180, 
181,  182,  188,  189,  190,  192, 
193,  194,  195,  196,  197,  198, 
200,  201,  203,  204 
University  and  college  corre- 
spondence   335 

University  demands  upon  musician- 
ship   298 

University  extension  pamphlets .  .  337 
University  extension  courses  .  216,  217 
Universities  listed  by  names 

table  of  contents 


PAGE 

University  music  association 167 

University  pageant 221 

University  pamphlets 337 

University  research 229 

Utah 40,88,195 

Vermont 6,  73,  95 

Versatility  in  music 299 

Views  of  educators 1,  5,  7, 18,  34, 

39,  58,  68,  74,  213,  239,  275, 
276,  278,  279,  298,  314 

Virgil  practice  clavier 117, 121, 

128,212 

Virginia 16,76,123 

.Vita v 

Washington '. 42,  90, 198 

Waste  financially  in  present 

music  study 266 

Weakness  of  private  agencies  in 

training  supervisors.  .7,  31,  74,  267. 
Weakness  of  modern  con- 
servatory training 1,  267 

Weakness  of  university  chairs  of 

music 208,209 

Western  activity,  its  cause 68 

West  Virginia 17,  77, 124 

What  is  music 275 

Winter  concerts  for  school 

children . 226 

Wisconsin 30,  83, 158 

Woman's  Trade  Union  of  Chicago. 228 
Wyoming 39,87,191 


354 


INDEX  OF  NAMES 


Allen,  C.  N  
Allen,  George  N  
Allen,  N.  H 

PAGE 

104 
.136,137 
100 

Gamble  
Gilman  
Godowski  Leopold 

PAGE 

233 
232 
190 

Goetschins,  Percy  

v 

Bach  98, 

104,111 

Guilmant.  .  .    . 

286 

Baldwin  

240 

Balle 

235 

Beaunis 

236 

Gow,  George  Coleman  . 

Zlo 

OAO 

Beckley,  E.  W 

230 

Grieg,  Edward  

fJ.MlTff 

oUo 

987 

Beethoven  100, 

102,287, 

Zo< 

292,294, 
Bendix,  Max  
Bigelow  
Binet  232, 

295,  307 
190 
99 
233,234 

Hall,  G.  Stanley  
Hastings,  Thomas  
Haydn  
Heller 

..213,303 
136,137 
.  102,  103,  104 
104 

Bingham  

231 

Hitzig 

235 

Birge,  Edward 

213 

Boynton 

11 

Jenner,  E.  A  

230 

Bradbury 

136 

Brahms  
Brazier  
Brillbroth  
Burgmiiller  
Butler,  Nicholas  Murray.  .  .  . 

Gary,  C.  P. 
Chopin  286, 
290,  292, 
Churchill,  Charles  
Clarke,  Hugh  A  
Collins 

.....98 
....235 
....235 
294,295 
109 

.30,238 
288,  289, 
294,295 
....137 
120,216 
34 

Kast  
Kidder,  Max  
Kneisel  Quartet  
Kreutzer,  Rodolphe  .... 
Kubelik  
Kayser,  H.  E  

Lahy  
Leschetizky  
Lewis  
Lind,  Jenny  
Litcomb  

236 

V 

97 
183 
199 
185 

..232 

.198,285,288 
213 
137 
166 

Concone 

100 

Lorenz,  C.  E  

230 

Conrad  
Courtier  232, 

..v,285 
233,  234 

McCormack  
Macdougall 

...228 
106,213,217 

Cramer  
Czerny  100,104,163, 

Dancha  
Dann,  Hollis  E  
Davies  275, 
Debussy  
De  Pachmann  
Dickinson  
D'Indy  
Durgin 

104 
190,288 

.  .190 
.11,114 
276,  277 
98 

.  ..  .283 
95 
98 

7,74 

MacDowell,  Edward  .  .  . 
Mahan  
Manchester,  Arthur  L.  . 
Marchesi  
Marinesco  
Mason,  Lowell  
Mason,  Daniel  Gregory. 
Mathews,  W.  S.  B  
Mendelssohn  
Mentz  

109,110 
136 
214 
100,  104 
235 
.136,137,219 
216 
.287,288,292 
.  100,  104,  294 
232 

Earhart,  W  
Eliot  

..69 
96 

Meyer,  Max  
Miles,  Walter  R  
Morgan  

231 
.  .208,230 
137 

Mozart 

102,  104 

Faure 

98 

Fere 

232 

186 

Ferrari  
Fiorillo  
Foote,  Arthur  
Foster  
Frank  
Franke  
Franz  
Fremstadt,  Olive  
Frieze  .  . 

.'...232 
...  .183 
96 
....233 

98 
288 
104 

.  ...228 
..154 

Oppenheim  
Osborne,  Jennie  

Paderewski  
Paine  
Parker,  Horatio  
Partridge  
Patrizi  .  . 

.  .235 

190 

.  .199,282 
.9697, 
106 
...275 
..232 

355 


Pick 

Pommer 

Powell,  Alma 
Powell,  Maud 

Raip 

Reber,  Louis  E . 
Ritter,  Fre< 
Rossini .... 
Rubenstein,  Antor 
Russell,  E.  P 

Seashore .... 

Schaefer 

Schaeffer .... 
Schauffer,  Robert. 
Schneider . 
Schubert .  . 
Schumann,  Robert 

2 

Schuman  n-Heink 
Scripture,  E.  W .  . 
Shakespeare 
Shephard . .  . 
Skilton,  Charles. 

Smith 

Smith,  Franklin  O . . 
Stearns . . 


Webster  . 

PAGE 

235 

172 
.  .  .  .208 

Stainer  
Steele  
Stojowski,  Sigismund  . 

PAGE 

....  100,  104 
137 

V 

:k  Louis  . 
iton  .... 

199 
234 
216,217 
115 
294,295 
294,295 
8 

Streabbog  
Surette,  Thomas  

Tarchanoff  
Tetrazzini  
Thomas,  Theodore  
Thome  
Tolstoy  

.  .  .  .287,295 
215 

.  .232 

228 
219 
.  .  .  .294,295 
233 

167 

3rt  

['-','..  104 
Dert  
290,294 
ik  

r  

,208,229,234 
208 
14 
213 
100 
,287,288,303 
286,287,288, 
,  295,  303,  307 
220 
..  .230,232 
303 
233 

Tscnaikowsky  
Tyler  

Vance,  Thomas  F  

Wagner,  Emily  
Wagner,  Richard  ....  99, 
Wallaschek  
Washburn  
Washington,  Booker  T  .  . 
Weld  
Whiting,  Arthur 

....287,296 
213 

208 

..'.224 
102,  294,  395 
.  .  .  .234,235 

V 

22 
..233 
212 

s  

213 

288 

Wilson,  Mortimer  
Woodworth  

v 

V 

i  '6'.'.  '.  '.  '. 

208 

Woollett 

166 

.  .157 

Wichtl  .  . 

..185 

RETURN  TO  the  circulation  desk  of  any 
University  of  California  Library 
or  to  the 

NORTHERN  REGIONAL  LIBRARY  FACILITY 
Bldg.  400,  Richmond  Field  Station 
University  of  California 
Richmond,  CA  94804-4698 

ALL  BOOKS  MAY  BE  RECALLED  AFTER  7  DAYS 
2-month  loans  may  be  renewed  by  calling 

(415)642-6233 
1-year  loans  may  be  recharged  by  bringing  books 

to  NRLF 
Renewals  and  recharges  may  be  made  4  days 

prior  to  due  date 


DUE  AS  STAMPED  BELOW 


1989- 


DEC 


Y.C  82 1 77 


f 


